-
OJ 5/19, 1 Handwritten letter from Schenker to Kalbeck, undated [?April 1889]
Schenker asks Kalbeck for a critique, apparently of some
sonatas.
-
OJ 5/19, 2 Handwritten letter from Schenker to Kalbeck, undated [?April or May
1889]
Schenker thanks Kalbeck for the critique. — He is preparing for his
state examination in Roman law, and looks forward to an eventual career in music
theory. — He will send Kalbeck three sonatas.
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GdM Briefe HS, [1] Handwritten letter from Schenker to Ludwig Bösendorfer, undated [1889/1890]
Schenker asks for hire of a better piano.
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OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1892
Since there has been no response to an earlier letter requesting major
revisions in a submitted article, Harden has made the changes himself; he asks Schenker to
write a second article on the omitted material; and he begs Schenker's pardon for having to
act unilaterally.
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OJ 71/42, [1] Handwritten message from Harden to Schenker, on handwritten letter from Hermann Woff
to Harden, dated October 20, 1893
Wolff encourages Harden to find him a collaborator for an article on music and
concert life; having read Schenker's article on Bruckner, he praises Schenker for his clear
and accurate understanding of Bruckner's music. Harden commends Wollf's praise to Schenker,
and suggests that he write an article about "conductors."
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OJ 9/6, [L] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert cancels and suggests an alternative
time.
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OJ 9/6, [N] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert will try to free himself up for a meeting
tomorrow.
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OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19,
1894
Eugen d'Albert has instructed his publishers to send Schenker all his
compositions, and asks Schenker to write about them in Die Zukunft.
-
OJ 9/6, [2] Handwritten letter from Eugen d'Albert to Schenker, dated March 8,
1894
Eugen d'Albert will be in Vienna for two days and seeks a first meeting
with Schenker.
-
OJ 9/6, [3] Handwritten letter from Eugen d'Albert to Schenker, dated March 14,
1894
Eugen d'Albert regrets their having been unable to meet, and looks
forward to making Schenker's acquaintance soon.
-
OJ 9/6, [4] Handwritten letter from Eugen d'Albert to Schenker, dated April 25,
1894
Eugen d'Albert looks forward to seeing Schenker's most recent article,
and agrees to Schenker's postponing until the Fall his feature article on d'Albert.
He thanks Schenker for taking an interest in his work.
-
OJ 11/42, [12] Handwritten letter from Maximilian Harden to Schenker, undated [probably post-April
13, 1894, certainly pre-May 5, 1894]
Harden thanks Schenker for his submissions, especially "Konzertdirigenten,"
and asks him again to consider writing an article on Verdi's Falstaff.
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OJ 11/42, [14] Handwritten letter from Maximilian Harden to Schenker, dated May 11, 1894
Harden urges Schenker to ask Brahms to write something for Die Zukunft about
the recently deceased Hans von Bülow.
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OJ 9/6, [5] Handwritten letter from Eugen d'Albert to Schenker, dated July 2,
1894
Eugen d'Albert thanks Schenker for a recommendation of his work. Things
being difficult, he would have had to give up composing had he not also played the
piano. He announces completion of his next opera.
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OJ 9/6, [6] Handwritten letter from Eugen d'Albert to Schenker, dated August 11,
1894
Eugen d'Albert promises his biographical jottings by the end of next
week and reports on progress with his new opera.
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OJ 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated
Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes
to discuss it first.
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OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated
September 2, 1894
Eugen d'Albert incloses his autobiographical contribution to Schenker's
forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the
MS piano reduction of his new opera, Ghismonda, which he describes as a
"psychological character sketch," and thanks Schenker for his
interest.
-
OJ 9/6, [8] Handwritten letter from Eugen d'Albert to Schenker, dated September 7,
1894
Eugen d'Albert asks for the piano reduction of his opera Ghismonda back
urgently.
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OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8,
1894
Harden welcomes an article by Schenker on Eugen d'Albert, and encourages
Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's
article.
-
OJ 9/6, [9] Handwritten letter from Eugen d'Albert to Schenker, dated September 8,
1894
Eugen d'Albert provides further information about his relationship with
Franz Liszt.
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OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1894
Harden rebuffs accusations by Schenker that seem to involve a delay in
Harden's response to a submission that Schenker hopes to move to another publication, and he
accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta
Jabuka.
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OJ 11/42, [A] Handwritten letter from Maximilian Harden to Schenker, undated [probably October or
November 1894]
Harden casts aspersions on Hermann Bahr. — Advises that he probably won't have
room to publish one of Schenker's articles, but requests that Schenker send it for his
review.
-
OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24,
1894
Harden encourages Schenker to write articles on the string quartet and on
[Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper
with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some
corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts
aspersion on Die Zeit.
-
OJ 9/6, [10] Handwritten letter from Eugen d'Albert to Schenker, dated December 10,
1894
Eugen d'Albert regrets having been able to find a time for them to meet
while he was in Vienna, and gives his temporary forthcoming
address.
-
OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894
Rosenthal has placed an article elsewhere than Die Zukunft.
-
OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20,
1894
Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's
refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he
requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about
Austrian social relations for the journal.
-
OJ 9/6, [11] Handwritten letter from Eugen d'Albert to Schenker, dated March 30,
1895
Eugen d'Albert gives his forthcoming moves and return dates to
Vienna.
-
OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895
Harden tells Schenker that a submission from d'Albert would be welcomed; he
encourages Schenker to send him a copy of a previously published lecture which he will
consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will
contribute any Bülow letters to Die Zukunft.
-
OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895
Article can be split across two issues, though with
disadvantages.
-
OJ 9/10a, [2] Handwritten letter from Hermann Bahr to Schenker, dated July 25, 1895
Bahr apologizes for misunderstanding Schenker, and requests an article by
him on music education.
-
OJ 11/42, [24] Handwritten letter from Maximilian Harden to Schenker, dated October 29,
1895
Harden suggests that Schenker make substantial revisions in an unidentified
submission.
-
OJ 11/25, [1] Handwritten letter from Max Graf to Schenker, undated [c. 1896]
Encouraged by Hermann Bahr, Graf requests a (first) meeting and discussion with
Schenker.
-
OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5,
1896
Eugen d'Albert apologizes for not having yet performed Schenker's Zwei
Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses
the piano reduction of his opera "Ghismonda," and reports on its Dresden
reception.
-
OJ 9/6, [13] Handwritten letter from Eugen d'Albert to Schenker, dated April 24,
1896
A conflict of loyalty over concert agent obliges Eugen d'Albert to
decline a concert with Arnold Rosé.
-
OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896
Rosenthal thanks Schenker for his words of friendship.
-
OJ 11/42, [27] Handwritten letter from Maximilian Harden to Schenker, dated December 23,
1896
Harden rejects the notion of publishing an article by Schenker anonymously; he
agrees with Schenker that a frontal attack on modernism is necessary; he says he does not
know Hofmannsthal's poetry, but hears he has great talent.
-
OJ 9/6, [14] Handwritten letter from Eugen d'Albert to Schenker, dated January 2,
1897
Eugen d'Albert acknowledges receipt of Schenker's Zwei Clavierstücke,
Op. 1, which he hopes to perform in the near future, and notifies Schenker of errors
in the libretto of his "Die Abreise." He apprises Schenker of his next time in
Vienna. He is negotiating for a publisher for Schenker's future compositions, and
sends New Year good wishes.
-
OJ 6/3, [2] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2,
1897
Schenker has a recommendation for his compositions from Goldmann via Busoni. He
is working on his Scherzo in C. Violin must visit Prof. Jerusalem.
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OJ 9/6, [18] Handwritten letter from Eugen d'Albert to Schenker, dated May 8,
1897
Eugen d'Albert expresses his determination to study and perform
Schenker's piano pieces in the coming winter, and alludes to Schenker's forthcoming
meeting with Paula Szalit.
-
OJ 5/19, 3 Handwritten letter from Schenker to Kalbeck, dated May 10, 1897
Schenker asks Kalbeck to listen to some of his
compositions.
-
OJ 9/27, [1] Handwritten letter from Busoni to Schenker, undated [May 10, 1897]
Busoni invites Schenker to call on him [for the first time].
-
OJ 12/7, 1 Handwritten letter from Kalbeck to Schenker, dated May 17, 1897
Kalbeck invites Schenker to come the next morning to play some of his
compositions.
-
Sbb B II 4413 Handwritten letter with envelope from Schenker to Busoni, dated May 18,
1897
Schenker reports that Karl Goldmark wrote him a glowing recommendation to
Edition Peters on the strength of which he approached Peters, who expressed their regrets.
He seeks Busoni's advice and help. Eugen d'Albert has undertaken to play something of his
during the winter. He draws Busoni's attention to an article he has
published.
-
OJ 5/19, 4 Handwritten letter from Schenker to Kalbeck, dated May 19, 1897
Schenker offers to send Kalbeck articles.
-
Sbb B II 4414 Handwritten letter from Schenker to Busoni, dated May 19, 1897
Schenker reports interest in his music on the part of publisher Robert Lienau,
involving also Max Kalbeck.
-
OJ 9/27, [2] Handwritten letter from Busoni to Schenker, undated [c. May 20, 1897]
Busoni acknowledges receipt of a packet of Schenker's compositions. He suggests
that Schenker might combine three of the piano pieces into a single three-section work. He will
not now be able to visit Mannheim, where the two men were planning to meet.
-
OJ 9/27, [3] Handwritten letter from Busoni to Schenker, dated June 2, 1897
Busoni warns Schenker that acceptance of his music may be slow on account of
its "intense subjectivity." He will play some of his compositions in public, and accepts the
dedication of what became the Fantasie, Op. 2.
-
OJ 9/6, [19] Handwritten letter from Eugen d'Albert to Schenker, dated June 11,
1897
Eugen d'Albert suggests his opera "Rubin" might be better suited to the
Viennese public than "Gernot," which he considers an advance on the former. He asks
Schenker for his reservations about "Gernot." He raises a question about Schenker's
piano "Fantasie", Op. 2.
-
Sbb B II 4425 Handwritten letter with envelope from Schenker to Busoni, dated June 26,
1897
Schenker sends Busoni a selection of his newspaper articles.
-
OJ 9/27, [4] Handwritten letter from Busoni to Schenker, dated June 29, 1897
Busoni thanks Schenker for the selection of his articles that he has sent him.
He looks forwrd to an argument over their different views of Berlioz.
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OJ 6/3, [A] Handwritten letter from Schenker to Moriz Violin, undated [?1897 or 1899]
Schenker announces that he has completed a string quartet, and hopes to see
Violin shortly.
-
OJ 9/27, [5] Handwritten letter from Busoni to Schenker, dated August 31, 1897
Busoni is pleased to learn that Breitkopf & Härtel has agreed to publish
some of Schenker's compositions. He expects to be in Vienna in December and can then discuss
his proposal to combine three of Schenker's compositions into one Fantasie and other
technical suggestions.
-
Sbb B II 4415 Handwritten letter with envelope from Schenker to Busoni, postmarked August 31,
1897
Schenker seeks Busoni's advice on choice of publisher for his new batch of
compositions. He wishes to discuss Busoni's advice on his Fantasie when the latter is next
in Vienna.
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Sbb B II 4416 Handwritten letter with envelope from Schenker to Busoni, dated September 4,
1897
Schenker admits that, contrary to the remarks in Busoni's previous letter, he
has not yet approached Breitkopf & Härtel [with his compositions], out of fear of
waiving the honorarium. -- he solicits Busoni for an article in Die
Zukunft.
-
OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9,
1897
Eugen d'Albert reports difficulty with the Szalit
family.
-
OJ 9/27, [6] Handwritten letter from Busoni to Schenker, dated September 11, 1897
Busoni states his willingness to act as a go-between to Schenker and
Breitkopf, and characterizes Breitkopf's approach to composers. The prospect of writing an
article for Die Zukunft is attractive to him.
-
OJ 6/3, [B] Handwritten letter from Schenker to Moriz Violin, undated [?1897]
Schenker is unwell and advocates rest for both of them.
-
Sbb B II 4418 Handwritten letter with envelope from Schenker to Busoni, undated [mid-September
1897?]
Schenker is about to finalize work on his Fantasie and show it to Busoni for
approval. He hints that he would like Busoni to play one of his works in
public.
-
Sbb B II 4417 Handwritten letter with envelope from Schenker to Busoni, dated September 25,
1897
Schenker has merged his three separate compositions into one, Fantasie, and
hopes Busoni will be pleased with it. He looks forward to their discussion of the work in
mid-December.
-
OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21,
1897
Eugen d'Albert gives his travel plans for the late Fall. He describes
the difficult situation with Paula Szalit and her family.
-
OJ 9/6, [25] Handwritten letter from Eugen d'Albert to Schenker, dated November 21,
1897
Eugen d'Albert asks Schenker to write about two of his operas; he will
have nothing further to do with Paula Szalit.
-
OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2,
1897
Harden rejects a submission by Schenker. — He tells him that his glowing
review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has
compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration
between the two of them is now virtually unthinkable.
-
OJ 9/6, [28] Handwritten letter from Eugen d'Albert to Schenker, dated January 17,
1898
Eugen d'Albert promises to play some of Schenker's piano compositions in
recitals, and asks to meet.
-
OJ 5/19, 6 Handwritten letter from Schenker to Max Kalbeck, undated [c. January 20,
1898]
Schenker writes of impending performances of his piano music by Eugen
d'Albert and Ferruccio Busoni, and of the latter's enthusiasm.
-
OJ 5/19, 5 Handwritten letter from Schenker to Kalbeck, dated February 14,
1898
Kalbeck's remarks have helped alleviate an unwelcome surprise by Eugen
d'Albert.
-
Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15,
1898
Schenker sends Busoni what he considers to be the final version of his
Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf
& Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen
d'Albert, and the fact that the Neue freie Presse did not review the
concert.
-
OJ 9/27, [7] Handwritten letter from Busoni to Schenker, dated February 19, 1898
Busoni acknowledges receipt of Schenker's letter, the manuscript of his
Fantasie, and [a printed copy of] his Fünf Klavierstücke. He praises the Fantasie while
suggesting that the two new linking passages are perhaps over-long. He cautions Schenker
over the subjectivity of the work, and advocates cutting two of the variations from the
final section. He reiterates that he will support the work [while not directly answering
Schenker's question regarding Breitkopf & Härtel].
-
OJ 9/6, [29] Handwritten letter from Eugen d'Albert to Schenker, undated [late
February/March 1898]
Eugen d'Albert sends Schenker the libretto, orchestral score, and piano
reduction of his opera Die Abreise for study and then forwarding to Gustav Mahler.
Schenker's piano pieces should be played no fewer than five at a
time.
-
Sbb B II 4421 Handwritten letter with envelope from Schenker to Busoni, postmarked March 6,
1898
Schenker pleads to have a few minutes of Busoni's time, and informs him that
Breitkopf & Härtel's acceptance of his Fantasie is almost secured.
-
Sbb B II 4420 Handwritten letter with envelope from Schenker to Busoni, dated March 15,
1898
Schenker has failed to meet up with Busoni today.
-
OJ 9/6, [30] Handwritten letter from Eugen d'Albert to Schenker, dated May 4,
1898
Eugen d'Albert asks for return of the orchestral score of his opera Die
Abreise, and seeks recent compositions by Schenker.
-
Sbb B II 4422 Handwritten letter with envelope from Schenker to Busoni, dated May 5,
1898
Breitkopf & Härtel have accepted his Fantasie; Schenker hopes now to get
the piece well known. — He asks for a second time whether Busoni will permit him to dedicate
the piece to him. — He hopes to attend Busoni's series of historical concerts in
Berlin.
-
OJ 9/27, [8] Handwritten letter from Busoni to Schenker, dated May 6, 1898
Busoni accepts with pleasure the dedication to him of Schenker's
Fantasie.
-
Sbb B II 4426 Handwritten letter from Schenker to Busoni, undated [September/October
1898]
Schenker reports that he has had two sets of proofs for his Fantasie from B
& H; he announces that Simrock has accepted his Ländler for piano; he encloses some
choruses and asks Busoni to send a recommendation to Siegfried Ochs.
-
OJ 9/6, [31] Handwritten letter from Eugen d'Albert to Schenker, dated October 6,
1898
Eugen d'Albert asks whether it would be appropriate to invite Gustav
Mahler to a performance of a vocal-orchestral piece. He encloses a photograph of
himself. He asks about Schenker's compositions.
-
Sbb B II 4423 Handwritten letter from Schenker to Busoni, dated October 24, 1898
Schenker sends Busoni a newly printed copy of his Fantasie, and reports that
he is unable to attend the latter's "historical" concerts series because it takes place over
more than a week.
-
OJ 5/19, 7 Handwritten letter from Schenker to Kalbeck, dated October 28, 1898
Schenker sends Kalbeck his composition Op. 2, and news of his Op.
10.
-
OJ 9/27, [10] Handwritten envelope from Busoni to Schenker, dated December 31, 1898
envelope only
-
Sbb B II 4427 Handwritten letter with envelope from Schenker to Busoni, dated January 2,
1899
Schenker thanks Busoni for his latest letter and announces his concert tour
with Johannes Meschaert January 7 to February 3, 1899.— He writes the valediction and
signature in the form of a IV-V-I cadence.
-
Sbb B II 4428 Handwritten letter from Schenker to Busoni, dated January 3, 1899
Schenker asks whether Busoni could play an orchestral concert in February,
acknowledging that there might be a conflict with Busoni's current agent.
-
OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]
Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.
-
OJ 6/3, [5] Handwritten letter from Schenker to Moriz Violin, dated April 27, 1899
Ludwig Karpath wishes to take lessons -- theory with Schenker, piano with Violin
-- starting May 1.
-
OJ 15/6, [2] Handwritten letter from Richard Wahle to Schenker, dated June 18, 1899
Wahle gives Schenker the name of a member of the state parliament who may be of
service to his brother-in-law, Salo Guttmann, and asks Schenker to provide more information
about him.
-
OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899]
Schenker tells Violin not to be troubled by their recent [unspecified] abortive
search: Weinberger is still on their side. He invites Violin to a Trischak [card]
party.
-
OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899]
Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and
then for Violin to go on to meet Professor Jerusalem.
-
OJ 5/19, 8 Handwritten letter from Schenker to Kalbeck, dated September [recte November?]
6, 1899
Schenker asks to play his Syrische Tänze and Op. 10 to
Kalbeck.
-
Sbb B II 4429 Handwritten letter with envelope from Schenker to Busoni, dated November 6,
1899
Schenker reports having received his first honorarium [on publication of his
Syrische Tänze]; he expresses horror at the picture chosen for the title-page. He speaks of
a "stipend" that has not yet been received.
-
OJ 9/27, [9] Handwritten letter from Busoni to Schenker, undated [?November 7, 1899]
Busoni describes Schenker's Syrian Dances as "Secessionist." He advises Schenker
to think in the present, not in the future.
-
OJ 5/19, 9 Handwritten letter from Schenker to Kalbeck, dated November 14,
1899
Schenker reminds Kalbeck of their arrangement.
-
OJ 12/26, [1] Stenographic letter from the Rothschild Artists' Foundation to Schenker, dated
November 20, 1899
The Rothschild Artists' Foundation awards Schenker stipend of 600
Gulden.
-
OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900
Requests publicity for his firm in concert program.
-
Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7,
1900
Schenker has played his Syrische Tänze to Eduard Hanslick and reports the
favorable remarks Hanslick made about Busoni. The first public performance of the Dances has
been postponed because of illness.
-
OJ 6/3, [11] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked January 27,
1900
Schenker declares to Violin that they did not play badly [at the first
performance the previous evening of Schenker's Syrian Dances]. He invites Violin to play
Trischak the next day.
-
OJ 6/3, [12] Handwritten letter from Schenker to Moriz Violin, undated [c. February 1,
1900]
Schenker is about to write to Busoni. -- He is just off to the Leiners' house to
substitute for Violin [while the latter is in Berlin]. -- Eduard [Violin] is asking for a
handout.
-
Sbb B II 4431 Handwritten letter from Schenker to Busoni, undated [c. February 5, 1900]
Schenker congratulates Busoni on the birth of a son. The Neue freie Presse
does not support Schenker's music because he does not belong to the Heuberger "clique." He
[and Moriz Violin] are playing the Syrische Tänze again on the 20th. He hopes to come to
Berlin, and encloses a "portrait."
-
OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8,
1900
When Violin returns from Berlin, Schenker will send him his Zweistimmige
Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the
substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct
him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance
of the "Eroica."
-
OJ 9/27, [11] Handwritten letter from Busoni to Schenker, dated February 11, 1900
Busoni has been playing Schenker's Syrian Dances with friends and is delighted
with them.
-
OJ 6/3, [14] Handwritten letter from Schenker to Moriz Violin, dated April 5, 1900
Moriz Schenker has tickets for a tour of the Brahms monument plinth and Heinrich
asks if anyone in Violin's family can use them.
-
OJ 6/3, [15] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 27,
1900
Schenker reprimands Violin for not writing to him from Berlin, and asks to see
him [now he is in Vienna]. -- He sends a message to Eduard Violin.
-
OJ 6/3, [16] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 22,
1900
Schenker writes from Lunz to describe the vacation accommodation available and to
give Moriz and Fanny Violin the alternatives for joining him and the Mayerhofer family.
-
OJ 6/3, [17] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 31,
1900
Schenker tells Violin he can come to Lunz to visit, but adds
caveats.
-
OJ 6/3, [18] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked September
13, 1900
Fanny Violin has informed Schenker that Moriz has been unwell. Schenker regrets
that he cannot renew his invitation to him to stay in the Lunz holiday household because there
is no longer space. He reports on Irene Mayerhofer's health. If the Mayerhofers leave earlier
than expected, he will let Violin know.
-
OJ 9/6, [33] Handwritten letter from Eugen d'Albert to Schenker, dated October 17,
1900
Eugen d'Albert reports the success of his operas "Kain" and "Die
Abreise" in Prague and Dresden, and points out that Vienna is the only sizeable
German[sic] stage not to have staged "Die Abreise."
-
OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?,
1900
Schenker offers Violin advice on the planning of a concert and its financing,
promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners
and Wieners.
-
OJ 6/3, [20] Handwritten letter with envelope from Schenker to Moriz Violin, dated December 11,
[1900]
Schenker again raises the question of fees for the Wiener and Leiner families,
and suggests a way that they can resolve the differences. He is pleased that a song by him, sung
by Eduard Gärtner, was well received.
-
OC 52/386 Handwritten letter from Josef Weinberger to Schenker, dated March 23, 1901
Thanks Schenker for mediating with Julius Röntgen, and confirms acceptance of the
C. P. E. Bach keyboard edition.
-
OJ 5/19, 10 Handwritten letter from Schenker to Kalbeck, dated April 12, 1901
Schenker sends Kalbeck his recent journalistic work.
-
OJ 9/3, [1] Handwritten letter from Guido Adler to Schenker, dated October 25, 1901
The Vienna chapter of the International Music Society invites Schenker to give
a lecture.
-
OC 52/2 Handwritten letter from Josef Weingartner and Adolf Robitschek (UE), to Schenker, dated
November 9, 1901
Inquires when Schenker's C. P. E. Bach keyboard edition can be
expected.
-
OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated
December 28, 1901
Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has
transferred honorarium.
-
OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901
Rosenthal responds to Schenker regarding the effect of "habit and prejudice"
on the performer; wishes to discuss phrasing-slurs in Chopin with him.
-
LC ASC 27/45, [1] Handwritten letter from Moriz Violin to Schoenberg, dated March 26, 1902
Violin has attended the successful premiere of Schoenberg's Verklärte Nacht,
and wishes to talk with him in person, apparently rather than sending a written report.
Violin speaks in strong terms of certain people, presumably in Wolzogen's Buntes Theater in
Berlin.
-
OJ 70/35, [2] Handwritten letter from Schoenberg to Moriz Violin, dated April 10, 1902
Schoenberg rarely goes to the [Buntes] Theater. He insists on receiving a
report from Violin on a performance of his Verklärte Nacht.
-
OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902
Adler inquires whether Schenker is willing give his lecture for the [Vienna
chapter of the] International Music Society in the coming season.
-
OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15,
1902
UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach
keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the
manuscript, and transfers the remainder of the honorarium.
-
OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26,
1902
Asks for the manuscript of the Beitrag zur Ornamentik.
-
OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated September 13, 1902
Gives publication details of Haydn's Scottish Airs.
-
OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902
Adler inquires whether Schenker is willing give a further lecture for the
[Vienna chapter of the] International Music Society in the coming season.
-
OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6,
1902
UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes
for the delay, and sends the contract for signing.
-
OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902
Rosenthal identifies Fritzi Neumann, and explains the background to her
application.
-
OJ 6/4, [22] Handwritten letter from Schenker to Juli Genovefa Violin, dated February 15,
1903
Schenker sends condolences to Moriz Violin's mother on the death of her daughter,
Nina Violin.
-
OJ 6/4, [23] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked February 16,
1903
Schenker sends condolences to Violin on the death of his elder sister, Nina
Violin. — He reports on recent activities with Eduard Gärtner and card playing, on the current
Seligmann exhibition, and a recent experience at the Mayerhofer residence.
-
OJ 6/4, [25] Handwritten letter from Schenker and others to Moriz Violin, undated [?March
1903]
Schenker sympathizes with Moriz Violin for his dejection, reassures him that he
will become successful, and encourages him to return to Vienna; he tells him of new card games.
— Mrs Irene Mayerhofer and her daughter append brief messages.
-
OJ 6/4, [26] Handwritten letter from Schenker to Moriz Violin, undated [? March 1903]
Schenker sees prospects for himself, and believes likewise for Violin. He
supports Violin returning to Vienna.
-
OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903
Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice
of work to edit.
-
OJ 6/4, [27] Handwritten letter from Schenker to Moriz Violin, undated [summer 1903]
Schenker (apparently writing from Gmunden) tries to get Violin to influence
affairs at the Vienna Conservatory. — Schenker is sure the number of professors at the
Conservatory will increase, so considers his own [chance of procuring a professorship] to "have
improved." He is sure transfer to state control (Verstaatlichung) is bound to
happen.
-
OJ 9/6, [35] Handwritten letter from Eugen d'Albert to Schenker, dated July 18,
1903
Eugen d'Albert agrees to look out for vacant posts suitable for Schenker
while he is in Germany. He hopes to see him at his forthcoming premiere in Prague,
and looks forward his new [C. P. E. Bach keyboard works] edition.
-
WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903
Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he
hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a
post at the Vienna Conservatory). The writing of it has caused him great anguish, and there
are even more things he wants to say, which would require writing another book, but without
a professorship no one will pay attention to him. He also expresses his desire for female
companionship, to help with his work.
-
OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23,
1903
UE offers Schenker the arrangement of Handel organ concertos.
-
OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28,
1903
Contract for Handel Organ Concertos received; distribution of complimentary
copies of Beitrag zur Ornamentik.
-
OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903
Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he
praises its serious intent, but there may be some things about which he would
disagree.
-
OJ 9/27, [12] Handwritten letter from Busoni to Schenker, dated August 25, 1903
Busoni thanks Schenker for a copy of his edition of C. P. E. Bach keyboard
pieces. Busoni would like to include an orchestrated selection of the Syrische Tänze in his
Berlin concert series next season.
-
OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27,
1903
Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about
to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to
check with Eduard Gärtner about financial support for Aron Mittelmann.
-
Sbb B II 3550 Handwritten letter from Schenker to Busoni, dated August 30, 1903
In response to Busoni's expressed desire to include the Syrische Tänze,
orchestrated, in a concert later in the year, Schenker admits that he would prefer, if
possible, to orchestrate the work himself rather than using the orchestration on which
Schoenberg was currently working.
-
Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1,
1903?]
Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet
Syrian Dances years earlier, therefore that an orchestral version should be available. He
says, however, that he had from the beginning conceived the pieces in orchestral colors, but
that the orchestration would now take time, so he asks Busoni's preference. He reports that
other music societies have asked to perform works by him.
-
OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903
Busoni offers three arguments why Schenker should adopt Schoenberg's
orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own
orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He
suggests a change of title to Jüdische Tanzweisen."
-
OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4,
1903
Weinberger will respond re: the Syrian Dances when back.
-
Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9,
1903
Schenker informs Busoni that the Schoenberg orchestrations will reach him by
October 9. He has taken soundings over the suggested title change and now permits Busoni to
go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to
the performance.
-
OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
-
OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14,
1903
In a bleak and formal message, Violin declares that withdrawal of friendship by
the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes
for a peaceable solution.
-
OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15,
1903?]
Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna
two days later.
-
OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or
early autumn 1903]
In this long letter, Seligmann advises Schenker on how to prepare an
application for a teaching post at the Vienna Conservatory: what to include and whom to get
in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a
position at the projected Lyceum in Vienna offers a better prospect and advises enlisting
the help of his patron Baron Rothschild.
-
OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21,
1903?]
Schoenberg will visit Schenker the next day.
-
OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22,
[1903]
Hellmesberger informs Schenker of the likely tryout date with the Vienna
Philharmonic, and asks him to send the parts of his work punctually.
-
OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29,
1903?]
Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4
the next day.
-
OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30,
1903?]
Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day.
-
OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Weinberger sends the newly copied orchestral parts of Syrian Dance No.
3.
-
OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Copying of parts for Syrian Dances is delayed.
-
Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
-
OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]
Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to
Busoni.
-
OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
-
OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated October 30, 1903
Gives the Museum's holdings of Thomson's books of Scottish and Welsh
songs.
-
OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]
Schoenberg needs to speak with Schenker.
-
OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903
Weinberger asks for a report on the performance of the Syrian Dances, and for the
return of the orchestral material.
-
OJ 14/15, [8] Handwritten letter from Zemlinsky, Gutheil, and Schoenberg to Schenker, dated January,
1904
Invitation to attend a meeting to discuss the promotion of new music in Vienna
through education and performance.
-
OC 52/12 Handwritten letter from E. Ascherberg to Universal Edition, dated January 20,
1904
Ascherberg reports research on ballads arranged by Haydn.
-
OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3,
1904
UE sends Schenker the bill for British Museum research.
-
OJ 14/15, [13] Handwritten letter from Schoenberg to Schenker, undated [February 12, 1904?]
Schoenberg expresses disappointment, and tells Schenker the time and place of the
next subcommittee meeting [of the Vereinigung schaffender Tonkünstler].
-
OJ 14/15, [10] Handwritten letter from Schoenberg to Schenker, undated [February 16, 1904?]
Schoenberg specifies why he considers Schenker's participation [in the
Vereinigung schaffender Tonkünstler] essential.
-
OJ 14/15, [11] Handwritten letter from Schoenberg to Schenker, dated February 25, 1904
Schoenberg encourages Schenker to attend the next meeting [concerning the
Vereinigung schaffender Tonkünstler], and invites him to his home for supper on Friday.
-
OJ 14/15, [12] Handwritten letter from Schoenberg to Schenker, undated [1904?]
Schoenberg tries to clarify his position vis-à-vis Schenker, and urges him to
attend the Thursday sub-committee [of the Vereinigung schaffender Tonkünstler].
-
OJ 5/19, 11 Handwritten letter from Schenker to Kalbeck, dated March 4, 1904
In thanking Kalbeck for his advice, he extols the virtues of the first
volume of Kalbeck's Brahms biography.
-
OJ 70/35, [4] Handwritten letter from Schoenberg to Moriz Violin, dated April 5, 1904
Schoenberg asks for Violin's withdrawal from the Vereinigung schaffender
Tonkünstler in writing, and indicates that he cnnot understand it.
-
OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20,
1904
UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ
Concertos.
-
OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22,
1904
UE confirms transfer of revised honorarium for Handel Organ Concertos, vol.
I.
-
OJ 11/17, [1] Handwritten letter from Eduard Gärtner to Schenker, undated [August/September
1904?]
Eduard Gärtner welcomes the chance to hear some of Schenker's Lieder played,
and asks if Schenker could visit him in Reichenau.
-
OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18,
1904
UE sends proofs of Handel Organ Concertos, vol. I.
-
OJ 15/6, [5] Handwritten letter from Fritz Wahle to Schenker, dated November 3, 1904
Fritz Wahle, who was probably at the receiving end of some witticisms of
Schenker’s during a drinking session after a concert featuring a keyboard concerto by C. P. E.
Bach, heaps praise on Schenker for having brought the work to life, and for having performed the
piece so well – with his own cadenzas.
-
OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3,
1904
UE sends Schenker a set of orchestral scores by Richard Strauss as a
gift.
-
OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905
UE sends five complimentary copies of Handel Organ Concertos and transfers
honorarium.
-
OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905
List of recipients of complimentary copies of the Handel Organ
Concertos
-
BNba Frimmel Nachl, [1] Handwritten letter from Schenker to Frimmel, dated March 13, 1905
Schenker sends a copy of his Handel Organ Concertos as a memento of past
music-making with Frimmel, and tells him of his work on his Harmonielehre.
-
BNba Frimmel Nachl, [2] Handwritten letter from Schenker to Frimmel, dated March 18, 1905
Schenker explains the delay in sending Frimmel the C. P. E. Bach concerto,
thanks Frimmel for the ticket to his lectures, and gives Violin's address.
-
OJ 11/10, [10] Handwritten letter from Frimmel to Schenker, dated March 21, 1905
Frimmel has had to postpone his lecture series on Beethoven until the Fall. —
He invites Schenker to afternoon tea at a date to be settled.
-
OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905
UE is unable to accept an item offered for publication.
-
OJ 9/6, [40] Handwritten letter from Eugen d'Albert to Schenker, dated June 3,
1905
Eugen d'Albert asks to hold on to the "book" that Schenker has sent him
until mid-June.
-
OJ 9/6, [41] Handwritten letter from Eugen d'Albert to Schenker, dated June 15,
1905
Eugen d'Albert gives reasons why he cannot use "Amor und Psyche" as a
basis for a composition. He asks whether Schenker will be in Prague for the première
of his opera "Flauto Solo."
-
OJ 9/6, [42] Handwritten letter from Eugen d'Albert to Schenker, dated July 11,
1905
Eugen d'Albert asks about the Vienna Volksoper as a suitable venue for
his opera "Flauto Solo," and the ethics of not approaching Gustav Mahler
first.
-
OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21,
1905
UE is prepared to look at Harmonielehre.
-
OJ 5/19, 12 Handwritten letter from Schenker to Kalbeck, dated November 2,
[1905]
Schenker wants his book [Harmonielehre] to be published this winter,
alluding to the impact his criticisms of certain composers will make on their
reputations.
-
OJ 12/7, 7 Handwritten letter from Kalbeck to Schenker, dated November 4, 1905
Kalbeck feels that he cannot help advocate Schenker's book
[Harmonielehre] to Simrock, but wishes Schenker well.
-
CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905
This is Schenker's initial approach to Cotta: he asks the firm to consider
publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his
anonymity, points out the book's attacks of certain composers, explains his choice of
preferred publisher.
-
OJ 9/6, [44] Handwritten letter from Eugen d'Albert to Schenker, dated November 8,
1905
In this significant letter, Eugen d'Albert agrees [to help Schenker find
a publisher for his Harmonielehre] and has already written to Brockhaus. He seeks to
interest Schenker in his new opera "Flauto Solo," the première of which, in Prague,
is in four days' time.
-
OJ 9/31, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 9,
1905
Cotta regrets that it is unable to undertake Schenker's book.
-
OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14,
1905
Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking
to see the manuscript of Harmonielehre.
-
OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15,
1905
Cotta will consider Schenker's proposal further, and asks for sight of the
manuscript.
-
OJ 9/6, [45a] Handwritten letter from Eugen d’Albert to Schenker, undated [c. November 18,
1905]
Having recommended Schenker's Harmonielehre to J. G. Cotta, publisher,
Eugen d'Albert hands the matter over to Schenker. He proposes a meeting after his
recital on November 23, and thanks Schenker for attending the première of his opera
"Flauto solo" in Prague.
-
OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905
UE is besieged with inquiries about Handel Organ Works, volume
II.
-
CA 5-6 Handwritten letter from Schenker to Cotta, dated November 22, 1905
Schenker submits the manuscript of Harmonielehre; asks Cotta not to show it to
potential rivals.
-
OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30,
1905
Weinberger asks when Handel Organ Concertos volume II will be
received.
-
OJ 9/31, [4] Stenographically handwritten letter from Cotta to Schenker, dated December 5,
1905
Cotta agrees to publish Harmonielehre. — It estimates the extent of the book,
the cost to Schenker, and his likely takings.
-
CA [205] Typewritten extracts from contract between Cotta and Schenker, dated December 5,
1905
Excerpts from the contract between Cotta and Schenker for
Harmonielehre
-
CA 9 Handwritten letter from Schenker to Cotta, dated December 10, 1905
Schenker returns his contract signed, and promises the Afterword
soon.
-
OJ 9/31, [5] Stenographically handwritten letter from Cotta to Schenker, dated December 12,
1905
Cotta sends Schenker a copy of the contract with their signature; they
estimate publication at c.March 1906.
-
OJ 9/31, [6] Stenographically handwritten letter from Cotta to Schenker, dated January 27,
1906
Cotta sends a list of music examples that are missing from Schenker's
material.
-
CA 12-13 Handwritten letter from Schenker to Cotta, dated February 5, 1906
Schenker discusses the pros and cons of placement of music examples in
Harmonielehre and of the captions; he asks to receive in future
galley-proofs.
-
OJ 9/31, [7] Stenographically handwritten letter from Cotta to Schenker, dated February 7,
1906
Cotta will in future send galley-proofs.
-
CA 15 Handwritten letter from Schenker to Cotta, dated February 15, 1906
Covering letter enclosing sheets and examples.
-
CA 16 Handwritten letter from Schenker to Cotta, dated February 26, 1906
Covering letter enclosing manuscript pages and music examples, and summarizing
the state of play.
-
OJ 9/6, [45b] Handwritten letter from Eugen d’Albert to Schenker, undated [Spring
1906]
Eugen d'Albert thanks Schenker for [Strauss's] "Salome" and finds it
execrable.
-
CA 17 Handwritten letter from Schenker to Cotta, dated March 2, 1906
Covering letter enclosing proofs of gathering 3.
-
CA 18 Handwritten letter from Schenker to Cotta, dated April 2, 1906
Covering letter enclosing batch of music examples with text
commentaries.
-
CA 19 Handwritten letter from Schenker to Cotta, dated April 3, 1906
Schenker asks for two marginal rubrics to be corrected.
-
CA 21 Handwritten letter from Schenker to Cotta, dated May 2, 1906
Schenker follows up on his telegram (CA 20) and makes a suggestion about
numbering.
-
CA 22 Handwritten letter from Schenker to Cotta, dated May 16, 1906
Schenker sends more manuscript and proofs of Harmonielehre.
-
CA 23 Handwritten letter from Schenker to Cotta, dated May 25, 1906
About numbering of music examples. — Schenker asks for more postal
wrappers.
-
CA 25 Handwritten letter from Schenker to Cotta, dated May 29, 1906
Schenker suggests that Harmonielehre be published in two volumes, indicating
that the Afterword has grown in size. — He asks for further galley-proofs.
-
OJ 9/31, [8] Stenographically handwritten letter from Cotta to Schenker, dated May 31,
1906
Cotta advises against splitting Harmonielehre into two volumes, and recommends
restriction of the size of the Nachwort.
-
CA 27 Handwritten letter from Schenker to Cotta, dated June 4, 1906
Schenker accepts Cotta's advice to keep Harmonielehre as one volume. — He will publish
the Nachwort separately. — He pleads for proofs of Part II of Harmonielehre before the
summer vacation.
-
OJ 9/31, [9] Stenographically handwritten letter from Cotta to Schenker, dated June 5,
1906
Cotta advises against publishing the Nachwort simultaneously with the
Harmoneilehre.
-
OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906
UE inquires further about Handel Organ Works, volume II, with
threat.
-
OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906
UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens
to reassign.
-
CA 29 Handwritten letter from Schenker to Cotta, dated June 25, 1906
Schenker is correcting proofs of the remaining text, and asks for the missing
music examples.
-
OJ 9/31, [10] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1906
Cotta asks for return of proofs as soon as possible; setting of music examples
is delayed.
-
CA 31 Handwritten letter from Schenker to Cotta, dated June 30, 1906
Schenker returns proofs, and draws two things to the attention of the
type-setter.
-
CA 32 Handwritten letter from Schenker to Cotta, dated July 2, 1906
Schenker explains Ex. 173 of Harmonielehre and makes suggestions as to the
layout.
-
CA 34 Handwritten letter from Schenker to Cotta, dated August 18, 1906
Schenker returns final proofs of gatherings 17 and 18 of Harmonielehre, and
asks for gathering 20.
-
OJ 9/31, [11] Stenographically handwritten letter from Cotta to Schenker, dated August 30,
1906
Cotta promises further proofs of Harmonielehre, and asks Schenker not to makes
large additions.
-
OJ 9/31, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 24,
1906
Cotta urges swift return of proofs, stresses the need to publish before
Christmas, and requests copy of the title-page.
-
OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906
UE asks for the score of the Handel organ concertos back; Schenker's name will
not appear on the published arrangements.
-
CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906
Schenker goes back on his earlier agreement with Cotta, and makes an
impassioned case for including the "Nachwort" as Section 3 of Part II of
Harmonielehre.
-
OJ 9/31, [13] Stenographically handwritten letter from Cotta to Schenker, dated October 2,
1906
Cotta gives pressing reasons why Harmonielehre must be published by
November.
-
CA 44 Handwritten letter from Schenker to Cotta, dated October 6, 1906
Schenker accepts Cotta's case that his "Nachwort" should not be included
within Harmonielehre, promises to enable the book to be published on time, and plans to have
the "Nachwort" follow by the time of the Easter book fair.
-
OJ 9/31, [14] Stenographically handwritten letter from Cotta to Schenker, dated October 8,
1906
Cotta expresses satisfaction that Schenker has decided to separate the
"Nachwort" from publication of Harmonielehre.
-
CA 47 Handwritten letter from Schenker to Cotta, dated October 13, 1906
Schenker submits his synopsis of Harmonielehre with one stipulation, and also
copy of the title-page.
-
CA 49 Handwritten letter from Schenker to Cotta, dated October 26, 1906
Schenker submits the index to Harmonielehre.
-
OJ 9/6, [43] Handwritten letter from Eugen d’Albert to Schenker, undated [November 1,
1906[?]]
Eugen d'Albert complains of his treatment by Gustav Mahler over the
forthcoming première of his opera "Flauto Solo"; he asks Schenker to contact Rudolf
Lothar.
-
CA 50 Handwritten letter from Schenker to Cotta, dated November 3, 1906
Schenker submits further final proofs for Harmonielehre.
-
CA 54-55 Stenographically handwritten letter(carbon copy) and account from Cotta to Schenker,
dated November 10, 1906
Cotta informs Schenker that Harmonielehre is printed, sends complimentary
copies, and encloses its account.
-
OJ 12/7, 8 Handwritten letter from Kalbeck to Schenker, dated November 19,
1906
Kalbeck looks forward to Schenker's supplement to Harmonielehre, and has
not net received a review copy of Harmonielehre itself.
-
CA 56 Handwritten letter from Schenker to Cotta, dated November 22, 1906
Cotta should by now have received the sum covering the publishing and
marketing costs of Harmonielehre. Schenker lists five recipients of review
copies.
-
CA 58 Handwritten letter from Schenker to Cotta, dated November 24, 1906
Schenker lists the journals for which the five music critics (as listed in CA
56) to receive review copies write.
-
OJ 12/27, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 26,
1906
Cotta acknowledges receipt of money for [printing and marketing of]
Harmonielehre.
-
OJ 15/6, [6] Handwritten letter from Fritz Wahle to Schenker, undated [November ?27–28,
?1906]
In a letter written in the course of two evenings, Fritz Wahle thanks Schenker
for sending him a copy of his latest book (probably Harmonielehre), which he wants to be
among the first to read. He congratulates Schenker for having maintained such high goals in
the writing of the work, which only Philistines would misunderstand, or seek to
misrepresent. The letter includes an attempt to compare a servant who doesn’t know how to
wear his master’s clothes to a philistine critic who has no concept of the value of a
serious act of creation.
-
OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906]
Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as
author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it
"conscientiously," and disclaims being a Reger adherent.
-
CA 60 Handwritten letter from Schenker to Cotta, dated December 3, 1906
Schenker asks for a further review copy to be sent to Richard
Robert.
-
OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4,
1906
Cotta has carried out wishes expressed in CA 60.
-
OJ 9/6, [46] Handwritten letter from Eugen d'Albert to Schenker, dated December 15,
1906
Eugen d'Albert asks Schenker to put the word out to the Viennese press
that he was deliberately kept in the dark over the première of his opera "Flauto
Solo" at the Vienna Court Opera and feels much aggrieved. Lothar has not contacted
him.
-
CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906
Schenker asks for a copy to be sent to Eugen d'Albert.
-
OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29,
1906
Cotta has sent a complimentary copy of Harmonielehre to Eugen
d'Albert.
-
OJ 9/31, [15] Printed letter from Cotta to Schenker, dated January 2, 1907
Cotta announces that Robert Kröner is now a partner, and gives his form of
signature.
-
OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7,
1907
Cotta inquires whether Schenker's name may be divulged.
-
CA 64 Handwritten letter from Schenker to Cotta, dated January 8, 1907
Schenker replies that anonymity re Harmonielehre must be
maintained.
-
OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1,
1907]
Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he
can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on
February 5 and 8.
-
CA 65 Handwritten letter from Schenker to Cotta, dated March 8, 1907
Schenker asks for a copy of Harmonielehre to be sent to Karl
Goldmark.
-
CA 66 Handwritten letter from Schenker to Cotta, dated March 30, 1907
Schenker asks for a review copy of Harmonielehre to be sent to Max
Graf.
-
CA 67 Stenographically handwritten letter (carbon copy) from Cotta to Schenker, dated
April 2, 1907
Cotta report that they sent a copy for review to the Österreichische Rundschau
in February.
-
OJ 11/10, [11] Handwritten letter from Frimmel to Schenker, dated August 10, 1907
Frimmel invites Schenker to contribute to the Beethoven-Jahrbuch, and suggests
topics. — He hopes to meet up with him in Steinach.
-
OJ 12/27, [5] Stenographically handwritten letter from Cotta to Schenker, dated September 5,
1907
Cotta encloses 1906 sales report for Harmonielehre.
-
CA 68 Handwritten letter from Schenker to Cotta, dated September 13, 1907
Schenker expects the press to be enthusiastic about Harmonielehre. — He
comments of the "Riemann school."
-
OJ 9/31, [16] Stenographically handwritten letter from Cotta to Schenker, dated September 16,
1907
Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the
same terms of contract will apply as those for Harmonielehre.
-
OJ 12/27, [10] Stenographically handwritten letter from Cotta to Schenker, dated December 12,
1907
Cotta enclose a letter from Karl Grunsky and inquire whether they may disclose
Schenker's name to him as the author of Harmonielehre.
-
CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907
Schenker proscribes the release yet of his name to Karl Grunsky. He comments
on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt
shortly.
-
OJ 9/31, [17] Stenographically handwritten letter from Cotta to Schenker, dated December 18,
1907
Cotta note the review of Harmonielehre by Max Burkhart, and look forward to
receiving the manuscript of Kontrapunkt shortly.
-
OJ 12/38, [A-B] Handwritten letter and envelope from Hans Liebstöckl to Schenker, undated
Liebstöckl returns Schenker's score of Das Rheingold with apologies for
lateness.
-
OJ 5/15, [1] Incomplete handwritten draft letter from Schenker to Grunsky, dated January 21,
1908
Schenker has not responded to Grunsky's invitation because of pressure of work
with Kontrapunkt. — He thanks Grunsky for his review of Harmonielehre; justifies favoring
the piano repertory there; remarks on Strauss and Reger with respect to "good" and "bad." —
He refers to his Formenlehre as vol. III of his Neue musikalische Theorien und
Phantasien.
-
OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21,
1908
Schenker makes a first approach to Rudorff; it concerns interpretation of a
passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and
teaching students to consult -- only original sources, and in the Urtext
principle.
-
OJ 13/37, 1 Handwritten letter from Ernst Rudorff to Schenker, dated January 23, 1908
Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No.
2, and welcomes Schenker's advocacy of the Urtext principle.
-
CA 75 Handwritten letter from Schenker to Cotta, dated February 8, 1908
Schenker asks for a copy of his Harmonielehre to be sent to Theodor
Frimmel.
-
OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26,
1908
UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for
them as soon as possible.l
-
OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1,
1908
UE stresses the urgency of supplying additional material for Beitrag zur
Ornamentik.
-
WSLB 2 Handwritten letter from Schenker to Hertzka (UE), dated April 1, 1908
Schenker asks for more time.
-
WSLB 4 Handwritten letter from Schenker to Hertzka (UE), dated April 22, 1908
Schenker promises material the next day, and extols the work's
structure.
-
OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6,
1908
Hertzka threatens to re-issue the first edition of Ornamentik if revisions
don't arrive by the next day.
-
CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908
Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft
der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch,
explaining the delay on Kontrapunkt I.
-
OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25,
1908
Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde,
and thinks that pre-publication excerpting of Kontrapunkt would be
advantageous.
-
OJ 11/29, [1] Handwritten letter from Grunsky to Schenker, dated May 3, 1908
Grunsky thanks Schenker for revealing his identity as author of Harmonielehre.
— He asks Schenker's views on Bruckner, and on his own views of musical
form.
-
WSLB 5 Handwritten letter from Schenker to Hertzka (UE), dated May 21, 1908
Schenker reports on progress with proofs and makes a suggestion.
-
WSLB 6 Handwritten letter from Schenker to Hertzka (UE), dated May 27, 1908
Because of an error in typesetting, Schenker needs to retain to two gatherings of
proofs.
-
OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June
1, 1908]
Responding to Grunsky's request, Schenker gives his assessment of Bruckner's
music. First exploring common ground between him and Grunsky, he then offers "technical
reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore
cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the
present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.
-
OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2,
1908
Cotta asks if they may divulge Schenker's name to Rudolf
Breithausen.
-
CA 79 Handwritten letter from Schenker to Cotta, dated June 5, 1908
Schenker gives permission to divulge his name as author of Harmonielehre to
Breithaupt.
-
WSLB 7 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1908
Schenker returns all remaining proofs of Ornamentik and calls for a third
proof.
-
OJ 14/23, [13] Handwritten letter from Seligmann to Schenker, undated [probably June
1908]
Seligmann cannot meet Schenker at the coffee-house that evening. He suggests
that Moriz Violin might join them on the excursion to Kreuzenstein Castle on
Sunday.
-
WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908
Schenker sends the text of his Foreword for Ornamentik.
-
WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908
Schenker promises a list of people in German to receive complimentary copies of
Ornamentik, and a new proposal.
-
WSLB 10 Handwritten letter from Schenker to Hertzka (UE), dated June 26, 1908
Schenker accepts an offer and asks for a contract for the Instrumentation
Table.
-
OC 52/23 Typewritten letter from Hertzka (UE) to Schenker, dated June 30, 1908
Hertzka asks Schenker to visit him to clear up a matter over
payment.
-
OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908
Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. —
Gives progress report on Table of Instrumentation, predicting October
publication.
-
WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908
Schenker gives list of those to receive a copy of Beitrag zur
Ornamentik.
-
OC 52/24 Typewritten letter from Hertzka (UE) to Schenker, dated August 25, 1908
Hertzka explains that the last-minute change to Beitrag zur Ornamentik
requested by Schenker would be exorbitantly expensive.
-
OC 52/25 Typewritten letter from Hertzka (UE) to Schenker, dated August 26, 1908
Hertzka advises that the last-minute corrections for Beitrag zur Ornamentik
will be made by corrigenda sheet. — Complimentary copies will be going out in the next three
days, so Schenker should dispatch any personal notes to the recipients.
-
WSLB 16 Handwritten letter from Schenker to Hertzka (UE), dated August 26, 1908
Schenker favors a corrigenda sheet for last-minute corrections to his Beitrag zur
Ornamentik, and makes it a matter of conscience whether UE complies.
-
WSLB 18 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908
Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl von
Wiener.
-
WSLB 17 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908
Schenker reminds Hertzka to insert the corrigenda slip in the complimentary
copies going out to Schenker's recipients.
-
OJ 12/27, [6] Cover letter for sales report from Cotta to Schenker, dated September 9,
1908
Cotta encloses 1907 sales report for Harmonielehre and notifies him of his
share of the sales profits.
-
OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908
Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two
letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but
welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's
approach to form, rhythm, theme, and musical character; — He admits his own "antipathy"
toward the music of Brahms.
-
OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12,
1908
Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to
Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in
agreement.
-
OJ 5/35, [2] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, undated [September
17, 1908]
Schenker is pleased at Rudorff's agreement with his ideas in the Beitrag zur
Ornamentik, and speaks of his difficulties with the Viennese music profession. — He takes
leave to have a copy of his Harmonielehre dispatched to Rudorff.
-
CA 80 Handwritten letter from Schenker to Cotta, dated September 13 and 17,
1908
Schenker promises Counterpoint soon and speculates on publication by
Christmas; — Asks for a copy of Harmonielehre to be sent to his sister
Sophie.
-
OJ 12/27, [7] Stenographically handwritten letter from Cotta to Schenker, dated September 18,
1908
Cotta looks forward to receiving Kontrapunkt, and has sent copies of
Harmonielehre to Sophie Guttmann and Ernst Rudorff.
-
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
-
OJ 5/15, [6] Fragmentary handwritten draft letter from Schenker to Grunsky, undated [? mid‒late
September 1908?]
Discusses Bruckner's compositional technique, content, and "eccentric" form:
highly fragmentary document.
-
OJ 12/38, [C] Handwritten letter from Hans Liebstoeckl to Schenker, dated September 24, no
year
Liebstöckl thanks Schenker for a critical communication, and invites Schenker to
meet him.
-
OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September
24, 1908
Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in
particular he approves of its attacks on Wagner, whom he speaks of as a malign
force.
-
OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26,
1908
Cotta acknowledges receipt of the manuscript of Kontrapunkt.
-
OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28,
1908
Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and
outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck
[unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's
interpretation of the turn in Haydn's music.
-
WSLB 20 Handwritten letter from Schenker to Hertzka (UE), dated September 28, 1908
Schenker asks for a copy of his C. P. E. Bach keyboard works to be sent to Julius
Röntgen. — He inquires about the corrigenda sheet for the Beitrag zur Ornamentik, and the
publication date of the Instrumentations-Tabelle.
-
OC 52/26 Typewritten letter from Hertzka (UE) to Schenker, dated September 29,
1908
Hertzka has instructed that Schenker's C. P. E. Bach edition be sent to Julius
Röntgen. — He explains the situation over the corrigenda for Beitrag zur Ornamentik. — The
Instrumentations-Tabelle will be published in the next two weeks.
-
WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908
Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius
Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a
rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering
Willem Andriessen.
-
OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908
Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for
proofing of the Foreword to the Instrumentationstabelle.
-
OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1,
1908
Grunsky expresses his opinions on the turn in Haydn's music and the status of
Gluck in relation to Mozart and Wagner.
-
OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between
September 23 and December 31, 1908]
Schenker reports progress on his Kontrapunkt. — The main problem in music is
"how length can be produced." — He recollects his love for the pious Bruckner, and his
admiration for the latter's music, but speaks of its "defects," comparing the music
favorably with that of Tchaikovsky. Bruckner's stumbling block was form.
-
WSLB 22 Handwritten letter from Schenker to Hertzka (UE), dated October 2, 1908
Schenker thanks Hertzka, and will call on him soon.
-
CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908
Schenker proposed that Kontrapunkt be divided into two
half-volumes.
-
OJ 12/27, [9] Stenographically handwritten letter from Cotta to Schenker, dated October 9,
1908
Cotta advises against splitting Kontrapunkt into two
half-volumes.
-
OJ 5/35, [4] Handwritten draft incomplete letter from Schenker to Ernst Rudorff, incompletely
dated [?October 11,] 1908
Schenker explains his position on Gluck, Mozart, and Wagner.
-
OJ 5/6, [2] Draft of handwritten letter from Schenker to Cotta, undated [October 12?,
1908]
Schenker accepts Cotta's verdict against splitting Kontrapunkt into
two.
-
CA 87 Handwritten letter from Schenker to Cotta, dated October 13, 1908
Schenker accepts Cotta's verdict against splitting Kontrapunkt into
two.
-
WSLB 23 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1908
Lesson schedule prohibits visit to new UE office; Schenker asks for the matter to
be dealt with by correspondence.
-
OJ 9/31, [20] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1908
Cotta states that Kontrapunkt will be produced under the terms of the contract
for Harmonielehre.
-
CA 89 Handwritten letter from Schenker to Cotta, dated October 17, 1908
Schenker confirms the terms of the Harmonielehre contract as applying to
Kontrapunkt.
-
OC 52/398 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1908
The Instrumentations-Tabelle is now published. — Hertzka is negotiating an
English translation of Beitrag zur Ornamentik.
-
WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908
The prospect of an English translation of Beitrag zur Ornamentik pleases
Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint
[I] have started arriving from Cotta.
-
OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908
Hertzka details the distribution of first copies of the
Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.
-
WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908
Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin
and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music
store.
-
OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908
Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and
Gärtner. — He chides Schenker for buying copies at the Gutmann music store.
-
OJ 13/37, 5 Handwritten letter from Ernst Rudorff to Schenker, dated November 21,
1908
Rudorff's poor health is restricting his activities. — He praises Schenker's
Harmonielehre, especially its views on the church modes. — He also endorses Schenker's
condemnation of Wagner's musical influence.
-
WSLB 26 Handwritten letter from Schenker to Hertzka (UE), dated November 24, 1908
Schenker reluctantly agrees to a meeting.
-
WSLB 29 Handwritten letter from Schenker to Hertzka (UE), dated December 16, 1908
Schenker assures Hertzka that his new material for the Instrumentations-Tabelle
will occupy only six pages. — He makes claims for the new material as an instrumentation
treatise, and suggests that the retail price might be raised accordingly.
-
WSLB 30 Handwritten letter from Schenker to Hertzka (UE), dated December 18, 1908
Schenker encloses some items [for the Instrumentations-Tabelle]. — In the
event that UE does not raise the retail price as he proposed in WSLB 29, he asks for his
introductory material back.
-
OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908
Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.
-
OC 52/31 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1908
Hertzka sends a copy of Mahillon's guide to instrumentation.
-
WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908
Schenker agrees to the Instrumentations-Tabelle being published without his newly
written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for
the new Akademie, offerin alternative suggestions and observations on Busoni's
editing.
-
OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23,
1908
Ms Rothe returns Schenker's introductory materials for the
Instrumentations-Tabelle.
-
OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25,
1908
Schenker justifies his selection and treatment of instruments in the
Instrumentations-Tabelle, with acid comments about the English, and dismissal of French
contributions.
-
OJ 9/31, [21] Stenographically handwritten letter from Cotta to Schenker, dated December 30,
1908
Cotta urge Schenker to return galley-proofs of Kontrapunkt.
-
WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January
1, 1909]
Schenker defends his Introduction to the Instrumentations-Tabelle and the
exclusion of the heckelphone.
-
CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker explains delay in returning proofs.
-
CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of
Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt
[I].
-
WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909
Schenker returns proof and is willing to correct another.
-
OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909
Hertzka hopes for detailed discussions with Schenker on the
Instrumentations-Tabelle and the Well-tempered Clavier proposal.
-
WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909
In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk
II. He outlines the work that he has in hand, and regrets his unhappy experience with UE
over Beitrag zur Ornamentik.
-
OC 52/919
Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909
Hertzka still hopes to persuade Schenker to take on editing the Well-tempered
Clavier Book II.
-
OJ 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11,
1909
Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach
collected edition as a present for her father.
-
OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14,
1909
Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as
author, and to distribute the second edition coincident with the release of Kontrapunkt
I.
-
OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15,
1909
Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of
C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday
present.
-
OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909
Rudorff thanks Schenker for the help he gave his daughter in choosing a
birthday present of Bach and Handel, and for his recent letter; — Laments the death of
Robert Hausmann.
-
WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909
Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons
Rothschild.
-
OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909
Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka
calls for a meeting.
-
OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909
Hertzka raises several possibilities for amplifying the
Instrumentations-Tabelle, and calls for a meeting.
-
WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909
Schenker suggests a meeting at Robert Brünauer's home.
-
OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909
Hertzka welcomes the prospect of a discussion at the home of Robert
Brüunauer.
-
OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909
Hertzka summarizes the discussion earlier that day.
-
WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909
Schenker thanks Hertzka for his latest letter.
-
BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909
Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and
expresses admiration at Frimmel's editing of the authors' contributions, remarking how
slowly he is proceeding with his own Kontrapunkt. He comments on two of the
contributions.
-
OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10,
1909
Cotta promises the next batch of proofs shortly.
-
CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909
Schenker raises again the splitting of Kontrapunkt into two half-volumes, or
even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the
Academy of Music, despite his being in a constant state of feud with all officialdom. — The
Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of
his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading
work" on the subject; he argues the case for splitting the work on "psychological" and
"technical" grounds.
-
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
-
CA 102 Handwritten letter from Schenker to Cotta, dated June 3, 1909
Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those
for 11 and asks for another copy.
-
OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909
Schenker reports a successful deal with Hertzka at Universal Edition, and refers
to monetary matters between them.
-
WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909
Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy
& Fugue that are unknown to him.
-
OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909
Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and
will send the required editions.
-
WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July
1909]
Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks
it worthy of publication, to send a letter of reference to one or other Viennese newspaper.
He also expresses his satisfaction at how his career is shaping: he has requested and
received generous fees for the editions he has prepared for Universal Edition, and his
theoretical writings for Cotta are also moving along.
-
WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909
Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s
Manfred published in a Viennese newspaper. He then asks whether it would be possible to make
a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has
been aiming to do with composers and musical works.
-
OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25,
1909
Hertzka asks for a visit from Schenker.
-
OJ 14/23, [14] Handwritten letter from Seligmann to Schenker, undated [probably autumn
1909]
Seligmann has been unable to get a newspaper to accept an article on Byron’s
Manfred, written by a friend of Schenker’s
-
OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10,
1909
Schenker, on receipt of the score of a Rudorff choral work, praises its
textural clarity and melodic articulation, comparing them favorably to the writing of the
current generation. — He reports the success of his own recent theory works, and inroads
made into the Vienna Academy for Music and Performance Art.
-
OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909
Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for
signature and return.
-
WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909
Schenker tells Hertzka of the Academy's plans to present a "historical"
concert of works edited by himself.
-
OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909
UE will search for the Handel organ concerto score.
-
OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909
Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue
edition.
-
WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909
Schenker warns that he may be delayed or unable to attend the agreed meeting
because of a dental appointment.
-
OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909
Hertzka insists that a face-to-face meeting is necessary.
-
OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909
Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to
the Instrumentationstabelle today and 9th.
-
WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909
Schenker resists attending a meeting with Hertzka and von Wöß regarding the
printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an
author to control over his own material; and makes claims for the introduction to his
Instrumentations-Tabelle, which was not accepted for inclusion in 1908
reprinting.
-
OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909
Hertzka attempts to reassure Schenker that the topics he wanted to discuss did
not involve "changes", only technical matters.
-
WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909
Schenker thanks Hertzka for the latest information on the Chromatic Fantasy
& Fugue.
-
OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14,
1909
Rudorff apologizes for his publisher's treating Schenker as a conductor; —
laments that Germany's conductors ignore his music; — asks for help in a matter concerning
an overture of his.
-
OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909
Schenker proposes program order for forthcoming concert.
-
OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27,
1909
Adolf Kröner thanks Schenker for his contribution to the Cotta
Album.
-
CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909
Schenker explains the necessity for some late interpolations into Kontrapunkt
I. — He may be able to include the title "Professor of Composition and Theory" against his
name on the title-pages of his works, and debates the advantages of such an appointment at
the Vienna Academy against the loss of independence. — Only anonymity has prevented
Harmonielehre from success so far.
-
OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8,
1909
Cotta welcomes the recognitions that Schenker has been accorded recently, and
hopes they will affect his work propitiously.
-
OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17,
1909
Rudorff reports on situation with his "Eckbert" Overture, and comments
adversely on publishers.
-
OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909
Hertzka regrets that since printing has not yet begun Schenker cannot have
proofs over Christmas; — He asks for a meeting during the holidays.
-
OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated
Weisse apologizes that was unable to attend on December 22, and asks Schenker to
reschedule so that he can discuss his latest piano pieces and an "Elfenlied."
-
WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910
Schenker complains that others have been allowed to see his Chromatic Fantasy
& Fugue, whereas he has not yet received proofs.
-
WSLB 52 Handwritten letter from Schenker to Hertzka (UE), dated February 7, 1910
Schenker's Chromatic Fantasy edition is an exception: other Bach works can be
published with less editorial detail. — He accuses Universal Edition of favoring
"anti-musical music." — With heavy irony, he suggests handing other Bach editing work to
others so as to promote UE's commercial interests.
-
OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910
While informing Schenker that his edition of the Chromatic Fantasy & Fugue
has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has
shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's
editing other works by J. S. Bach.
-
OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910
Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical
music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs
him that the Chromatic Fantasy & Fugue edition will go to press in early
March.
-
WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910
Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'"
for publication and explains its connection with a planned "historical
concert."
-
OC 52/46 Typewritten letter from Hertzka (UE) to Schenker, dated March 11, 1910
Hertzka asks Schenker to return a score to the UE Archive.
-
OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910
Proofs of the Chromatic Fantasy & Fugue edition will not be available by
Easter [March 27]. Hertzka hopes Schenker will be able to correct them in
April.
-
WSLB 54 Handwritten letter from Schenker to Hertzka (UE), dated March 12, 1910
Schenker asks for proofs of his edition of the Chromatic Fantasy & Fugue,
so that he can correct them over the Easter holidays.
-
WSLB 55 Handwritten letter from Schenker to Hertzka (UE), dated April 5, 1910
Schenker presses again for proofs of the Chromatic Fantasy & Fugue
edition, so as to coordinate them with his work on Kontrapunkt 1.
-
OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910
There is now no hope of the Chromatic Fantasy & Fugue edition being
available for proof-correcting by the middle of April, hence UE may be forced to send the
work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under
discussion.
-
WSLB 56 Handwritten letter from Schenker to Hertzka (UE), dated April 10, 1910
Schenker accuses Hertzka of failing to keep his word over delivery of proofs
of his Chromatic Fantasy & Fugue edition, quoting Hertzka's words from a previous
letter.
-
OC 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910
Hertzka is unable to return, as requested, Schenker's copy of a volume of the
Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised
Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the
Spring.
-
WSLB 57 Handwritten letter from Schenker to Hertzka (UE), dated April 11, 1910
Schenker asks for the return of his copy of the Bach Gesellschaft edition vol.
36, which he needs for teaching purposes.
-
WSLB 58 Handwritten letter from Schenker to Hertzka (UE), dated April 12, 1910
Schenker thanks Hertzka for his help
-
OC 52/50 Typewritten letter from Hertzka (UE) to Schenker, dated April 19, 1910
Hertzka hopes to have the galley-proofs of the Chromatic Fantasy & Fugue
edition very soon.
-
WSLB-Hds 95663 Handwritten letter from Schenker to Seligmann, dated April 26, 1910
Schenker thanks Seligmann for a copy of his recently published collected
essays. He announces the imminent publication of the first half-volume of his Kontrapunkt,
which has been long in preparation.
-
OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910
Graf justifies his request for a discussion, refused by Schenker, about some
details in Beethoven's "Leonora" overtures.
-
OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910
Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue
edition are about to be delivered.
-
WSLB 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910
Schenker acknowledges receipt of the first proofs his Chromatic Fantasy &
Fugue edition, and comments on the high number of errors.
-
WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910
Schenker reports that he is busy correcting proofs of his Chromatic Fantasy
& Fugue edition, and hopes to have returned them by the end of June, and even to correct
and approve the second proofs if available.
-
CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June
16, 1910
Cotta asks Schenker for manuscript of the prelims and any supplements for
Kontrapunkt I, and for a publicity blurb.
-
OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910
Hertzka acknowledges return of first proofs of the Chromatic Fantasy &
Fugue edition, and promises to look out the contracts Schenker has requested.
-
OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1910
Cotta reiterates the requests made in CA 112.
-
CA 114 Handwritten letter from Schenker to Cotta, dated June 30, 1910
Schenker promises manuscript of prelims for Kontrapunkt 1.
-
CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910
Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions
recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of
his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces
his departure and gives his summer address.
-
CA 116 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated July
6, 1910
Cotta acknowledges receipt of the manuscript prelims of Kontrapunkt 1 and
reiterates its request for material for its publicity blurb.
-
OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910
Schenker announces his arrival in the Karerpass, speaks of the costs, and
outlines his concerns over money, including money he has to send to his mother on August 1. — He
will write a letter to a female patron. — He describes the magnificence of the mountain
views.
-
CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17,
1910
Covering letter with draft publicity material for Kontrapunkt 1. Schenker
promises to return proof of Preface.
-
OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910]
Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the
summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a
short time, to prove that he is not as immature as some of his schoolteachers seem to
think.
-
OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910
Joking about some humorous rhyming verse of Violin's, Schenker reports that he
has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied
the cost of laundry in the Karerpass, being still worried about money. — He comments on Max
Graf's recent support of Schoenberg.
-
WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910
Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue
edition from Karerpass to Vienna, and outlines his travel plans for the remaining
summer.
-
CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
-
OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910
Schenker sends Violin 50 florins in partial repayment of a debt, expressing
anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel
fire on hotel businesses. — Emil Kornfeld arrives today.
-
OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?],
1910
In response to CA 118, Cotta advises Schenker to send his proposal for a
Handbibliothek in advance of a possible visit to Stuttgart to present it in
person.
-
OJ 14/23, [A] Handwritten letter from Seligmann to Schenker, undated, c. 1910?
This letter concerns a member of the Thorsch family, and a course of lessons
and payment, and advice on the attitudes of aristocratic families.
-
OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated
September 6, 1910
1909 sales report for Harmonielehre, with covering letter
-
OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9,
1910
Wöß invites Schenker to call on him to discuss aspects of the Chromatic
Fantasy & Fugue edition.
-
CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910
Schenker explains the basis for his "Handbibliothek," suggests an overarching
title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He
promises to return the manuscript of vol. II/1.
-
OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14,
1910
In response to Schenker's outline of his prospective Handbibliothek, Cotta
advise against its publication before that of vol. III [Niedergang]; and would not be able
to entertain the project until after publication of vol. III.
-
CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910
Schenker asks Cotta to correct the page-count for Kontrapunkt
1.
-
OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September
15, 1910
Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy
& Fugue edition.
-
CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910
Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and
copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig
address.
-
OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21,
1910
Cotta reasserts its unwillingness to consider publication of the
[Handbibliothek] project until after publication of vol. III.
-
OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910
Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned
"historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that
they adhere to their original plan.
-
CA 128 Handwritten letter from Schenker to Cotta, dated September 29, 1910
Schenker asks for a review copy of Kontrapunkt 1 to be sent to Ludwig
Karpath.
-
OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and
Paul Stauber) to Schenker, dated September 30, 1910
The Association invites Schenker to give a lecture series on Beethoven's Ninth
Symphony.
-
OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4,
1910
Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the
orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath,
and Schenker himself.
-
OJ 15/6, [8] Handwritten letter from Fritz Wahle to Schenker, dated October 7, ?1910
Fritz Wahle thanks Schenker for sending him his latest book -- almost
certainly the first half-volume of Kontrapunkt; he has looked through the table of contents
and read the introduction. He hopes that the two of them could get together
sometime.
-
WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910
Schenker asks for one copy of the Chromatic Fantasy &
Fugue.
-
CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910
Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert
Seligmann. —He assures Cotta that their printing and production costs bill will be paid
promptly.
-
OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October
13, 1910
Bopp is pleased that matters have been settled, and hopes to make Schenker's
acquaintance.
-
OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910
UE is transferring Schenker's second honorarium for the Chromatic Fantasy
& Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth
Symphony.
-
OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1910
Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.
-
WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910
Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue,
and will appear at Hertzka's office on October 20.
-
WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19,
1910
Schenker cancels their Thursday meeting. — He argues for sweeping changes to
the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the
face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue
edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the
prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach
toccatas in a lofty vision for future publications. — He appends a list of recipients of
complimentary copies of the Chromatic Fantasy & Fugue.
-
OJ 13/37, 10a Printed form letter from Rudorff to Schenker, dated January, 1910
Rudorff thanks all his birthday well-wishers.
-
OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910
Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is
sending Schenker Rudorff's Third Symphony.
-
CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910
Schenker divulges the identity of his benefactor, explains why there has been
a delay in payment by the Rothschild Bank, and promises payment by sometime in
January.
-
WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910
Schenker reports an encounter with Wilhelm Bopp.
-
CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910
Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf;
incloses a review.
-
OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24,
1910
Cotta hopes that Schenker will honor his contract to pay the publishing costs
[of Kontrapunkt 1] in January.
-
OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26,
1910
Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a
recent favorable notice of that work.
-
OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910
Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition
be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice.
— He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss
plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a
grant from the Ministry of Education.
-
WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1,
1910
Text of flyer for Chromatic Fantasy & Fugue edition, with covering note
discussing plan for last five Beethoven piano sonatas in combination with Well-tempered
Clavier, Book 2.
-
OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910
Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone
promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and
Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.
-
WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910
Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to
discuss the combined release of the last Beethoven piano sonatas and Book 2 of the
Well-tempered Clavier.
-
OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910
Hertzka will speak to Wilhelm Bopp to explore the position over the parallel
publication of Beethoven and Bach works, but admits there remains the thorny issue of the
need for a subsidy.
-
OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910
Fritz Wahle thanks Schenker for sending him a copy of his critical edition of
Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance,
adding that all serious musicians will learn a great deal from the performance markings of
the masters.
-
WSLB 72 Handwritten letter from Schenker to Hertzka (UE), dated November 11, 1910
Schenker asks for copies of his Beitrag zur Ornamentik and Chromatische
Fantasie & Fuge to be sent to Wanda Ladowska.
-
OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16,
1910
Rudorff approves of the [highly controversial] Introduction to Schenker's
Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and
Fugue, raising some technical matters.
-
OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910
Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge,
and criticizes it for excessive polemic.
-
WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910
Schenker has received gratitude from abroad for his edition of the Chromatic
Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the
Viennese of hostility and intellectual theft.
-
WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910
Affected by his elderly mother's illness, Schenker asks for an advance of 500
Kronen on account of his manuscript, due for imminent delivery.
-
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
-
OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?]
Mrs. Colbert regrets that she will not be able to take piano lessons during
February.
-
OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19,
1911
Hertzka regrets having missed Moriz Violin's concert, and asks for a
list of recipients for his booklet Ueber das Continuo.
-
OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated
[March 2, 1911]
Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the
financial support for his first two volumes, and notifies him of the forthcoming monograph
on Beethoven's Ninth Symphony.
-
OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911
Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte
Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the
Neues Wiener Tagblatt.
-
OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24,
1911
Bopp asks for a meeting with Schenker.
-
OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27,
1911
Bopp warns Schenker of his unavailability one day.
-
WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31,
1911]
Schenker reports the completion of work on Beethoven’s Ninth Symphony and
enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned
series of lectures on modern music (cacophony).
-
OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16,
1911
Bopp sends Schenker an invitation to a concert.
-
WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911
The manuscript of Beethovens Neunte Sinfonie will be handed over complete
tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions
scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the
case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by
Handel.
-
WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911
Schenker acknowledges a package from UE..
-
OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30,
1911
Schenker has been unable to elicit any response from President [von
Wiener].
-
OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
-
WSLB-Hds 95665 Handwritten letter from Schenker to Seligmann, dated May 31, 1911
Schenker thanks Seligmann for his willingness to help him get a notice placed
in the newspapers.
-
WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911
Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie
in time to take on vacation, and inquires as to his proposal for UE to publish the score of
the Ninth Symphony with original markings. — No summons to interview with Academy President
von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade
against von Wiener and the Academy's teachers.
-
OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911
Hertzka explains that the proofs for Schenker's monograph Beethovens neunte
Sinfonie will not be ready before August. — He hopes that an agreement can be reached over
the Beethoven/Bach project.
-
OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]
On summer holiday with little in the way of fixed plans, Weisse will be working
on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and
Rondo.
-
WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911
Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send
to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und
Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies
his editorial stance with reference to Rodin and architecture, and suggests it might be
published in Germany as retribution against Bopp and Wiener. —He is working now on
Counterpoint II for Cotta.
-
OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911
Weisse reports that he has reworked his fifth waltz and composed two other piano
pieces. He will now switch to composing songs, and asks a question about setting poems with more
than three stanzas.
-
OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
-
WSLB 79 Handwritten letter from Schenker to UE, dated August 18, 1911
Schenker provides requested personal data.
-
OJ 5/27, [1] Excerpt from a letter from Schenker to Evelina Pairamall, dated August 20,
1911
Schenker contrasts "elemental drives" with "artistic creations," the latter
based on "falsehoods" except in the works of geniuses.
-
OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 26, 1911
With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to
the uncertainty about their return on account of a recent storm and destruction to the road;
— they have decided that, on return to Vienna, Jenny shall stay in a hotel until an
apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which
concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in
Sulden.
-
WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14,
1911
Schenker demands to know whether UE is interested in publishing his planned
edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens
neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt
1.
-
OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19,
1911
UE cannot proceed with the Beethoven last five sonatas project absent a grant.
Whereas the larger German music publishers might be able to undertake such a work, UE is
still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be
available in the Fall, owing to the delay in Schenker's delivery of his manuscript. --
Hertzka expresses delight at the sales of Kontrapunkt 1.
-
OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 26, 1911
Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express
their willingness to help, and ask what would be best.
-
OJ 6/5, [4] Handwritten letter from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated October 5,
1911
Jenny Kornfeld gives Violin an account of the verdict of October 3, 1911 on her divorce
plea.
-
WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911
Schenker hotly contests Hertzka's allegation that he delivered the material
for Beethovens neunte Sinfonie late, and details the pre-history of the
project.
-
OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911
Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in
the course of November."
-
WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911
Schenker offers UE an arrangement of the Mozart A major piano concerto,
arguing the case for its publication despite existing editions. -- He is impatiently
awaiting proofs of his monograph Beethovens neunte Sinfonie.
-
OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911
Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart
piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any
day.
-
OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27,
1911
Eugen d'Albert inquires whether Schenker would be interested in taking
on a female pupil.
-
WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911
Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte
Sinfonie and asks for return of his copy of Grove's book on the Beethoven
symphonies.
-
OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
The printers query the absence of "signatures" from music examples in the
manuscript of Beethovens neunte Sinfonie.
-
OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
Hertkza encloses a letter from Eugen d'Albert and is having the requested book
returned to Schenker.
-
WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911
Schenker explains that the music examples without [key] signatures in
Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. --
He approves the use of a quotation from a D'Albert letter for publicity
purposes.
-
OC 52/71 Typewritten letter from Hertzka (UE) to Schenker, dated December 4, 1911
Hertkza acknowledges Schenker's explanation of music examples without [key]
signatures, and suggests an explanatory footnote; corrected proofs should be returned to
UE.
-
WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911
Schenker gives instructions as to how measure number should be displayed in
the analysis sections of his monograph Beethoven's neunte Sinfonie.
-
OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911
Weisse has a new piano piece to show Schenker, and asks to come the next
day.
-
OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911
UE forwards to Schenker a letter from the printers including a music example
and ask Schenker to respond.
-
OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911
Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte
Sinfonie have significant alterations and additions, the costs of which will be passed on to
Schenker.
-
WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911
Schenker refutes Hertzka's accusation of "heavy corrections," and his threat
to pass the costs on to him.
-
WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws
attention to errors on the part of the typesetters.
-
OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912
Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs
and the manuscript of Beethovens Neunte Sinfonie.
-
WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses
dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers,
and alignment within figures.
-
OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912
Hertkza encloses a letter from Breitkopf.
-
WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter
from Breitkopf &Härtel.
-
WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out
with labored sarcasm that the printers have omitted the title-pages of each of the four
movements, and suggests how this might be rectified.
-
OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912
Hertkza notifies Schenker of the impending delivery of page-proofs of
Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to
consider making structural diagrams for movements 2-4.
-
OJ 15/16, [3] Handwritten letter from Weisse to Schenker, dated January 13, 1912
Weisse thanks Schenker for having taught him to make fine adjustments in his
compositions, and for imbuing him with greater clarity; he marvels at the subtlety of Schenker's
musical sensibility, and speaks of his joy at being Schenker's pupil.
-
WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He
conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2
to 4, giving his justification for intially providing only that for the first
movement.
-
OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912
Hertzka notifies Schenker of the impending delivery of page-proofs of his
Beethovens Neunte Sinfonie monograph and asks for speedy return of previous
galley-proofs.
-
WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting
imprimatur providing one problem can be overcome.
-
OJ 6/5, [5] Handwritten letter from Weisse to Schenker, dated January 29, 1912
Weisse gives his suggested order of the compositions by him to be included in the
February 22, 1912 concert.
-
WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural
diagram for movement 2.
-
OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912
Hertzka acknowledges receipt of the formal diagram of movement 2 for, and
gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of
gatherings 5 and 6 to Schenker for imprimatur.
-
OJ 9/6, [55] Handwritten letter from Eugen d’Albert to Schenker, dated February 12,
1912
Eugen d'Albert asks Schenker's opinion of his opera "Verschenkte
Frau."
-
OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912
Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on
the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.
-
WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912
Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte
Sinfonie and the formal diagram for movement 3.
-
OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912
Hertzka invites Schenker to meet him to discuss the plan for an edition of the
Beethoven Ninth Symphony score and other matters.
-
OC 52/81 Typewritten letter from Hertzka (UE) to Schenker, dated March 9, 1912
Hertzka agrees to the suggested meeting time and place; second proofs of
gatherings 9 and 10 are being dispatched to Schenker.
-
WSLB 101 Handwritten letter from Schenker to Hertzka (UE), dated March 14, 1912
Schenker sends the four new paragraphs for the 1912 edition of his
Instrumentations-Tabelle.
-
OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912
Hertzka gives Schenker assurances on the arrival of further
gatherings.
-
OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912]
Weisse sends a newspaper clipping for Schenker's possible use in his Ninth
Symphony monograph.
-
WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912
Schenker returns proofs of gather 16 of his monograph Beethovens neunte
Sinfonie.
-
OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912
Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens
neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs.
Payment has been authorized for the additional material for his
Instrumentations-Tabelle.
-
WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912
Schenker responds combatively to Hertzka's warning about correction
costs.
-
OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912
Hertzka suggests a fold-out for a particularly large music
example.
-
WSLB 104 Handwritten letter from Schenker to Hertzka (UE), dated March 22, 1912
Schenker agrees with a suggestion for handling an oversize music
example.
-
OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912
Gatherings are received and others sent out. Hertzka reiterates his demand for
the complete manuscript and outstanding first proofs.
-
WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912
Schenker will send the complete manuscript only on receipt of written
assurance that it be returned to him later -- He speaks of being not only to "procreator" of
his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay
any correction costs. He points out a placement error in gathering 16.
-
OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912
Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie
will be returned to him after use, and asks for it to be sent as well as any other proofs in
Schenker's hands.
-
WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912
Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte
Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of
English and French translations for the monograph.
-
OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912
Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends
adding a subtitle for clarification.
-
WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912
Schenker returns proofs for his Instrumentations-Tabelle and five gatherings
of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title
of the latter.
-
WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912
Schenker sends first and second proofs with comments.
-
OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912
Hertzka asks Schenker to call on him to discuss Beethovens neune
Sinfonie.
-
OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912
Hertzka explains the reason for his need to see Schenker in person: it
concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in
Schenker's monograph on that work, and the planned edition of the score of the symphony; but
Hertzka will be away for up to ten days.
-
WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912
Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of
Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition
of the score, and offers a counter-proposal; he also responds on the formal terminology. --
He inquires as to the number of copies of the new edition of the Niloff
Instrumentations-Tabelle so far released.
-
WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912
Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the
type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the
former; he submits the Foreword, and asks for one copy of each of his previous UE
publications.
-
OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912
UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's
approval and reports the total author correction costs.
-
WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912
Schenker asks to see the entire volume of his monograph on Beethoven's Ninth
Symphony again for a final check, and urges that the work be published in time for the
Vienna Music Festival Week, and that UE be advertizing the book now in
Germany.
-
WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912
Schenker congratulates Seligmann on the recent exhibition of his paintings. He
is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the
section on the secondary literature and consider whether the same might be applied to the
literature on painting.
-
OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated
May 28, 1912
Hertzka invites Schenker to his home for a discussion of the monograph
Beethovens neunte Sinfonie.
-
WSLB 115 Handwritten letter from Schenker to Hertzka (UE), dated May 29, 1912
Schenker accepts Hertzka's invitation to his home on June 1, and declares his
willingness to cooperate. He acknowledges receipt of a set of his previous UE
publications.
-
OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912
Weisse is concerned that Schenker will turn his attention from himself to Felix
Hupka, whom Schenker has just taken on as a pupil.
-
WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912
Schenker observes acidly that the Ninth Symphony score project has been
dropped. He asks [in the face of the threat of author correction cost demands] for an
honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands
to know whether Hertzka is serious about the plan for an edition of the last five Beethoven
sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle,
2nd edition, that have so far been released.
-
WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912
Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie
with corrections. He asks about the placement of the Table of Contents in the
volume.
-
OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912
Hertzka addresses Schenker's request for an honorarium for correcting proofs
of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600
Kronen. He is sending the volume to the printers today. -- He commits in principle to the
editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of
the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a
counter-proposal.
-
WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912
Schenker urges Hertzka to contact Dr. Harpner in connection with the planned
Organization. He reiterates his demands regarding payment for the planned last five
Beethoven sonata edition, specifying the sums, and disputes Hertzka's
counterargument.
-
OC 52/404 Typewritten letter from Hertzka (UE) to Schenker, dated June 4, 1912
UE sends 100 Kronen in payment for the Instrumentations-Tabelle 2nd
edition.
-
WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
-
OC 52/493 Typewritten letter from Hertzka (UE) to Schenker, dated June 8, 1912
Hertzka makes a firm proposition on payment for the Beethoven last five
sonatas, and seeks clarification on contact with Dr. Harpner.
-
WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
-
OC 52/406 Typewritten letter from Hertzka (UE) to Schenker, dated June 10, 1912
Hertzka explains UE's recent 100 Kronen payment, and answers Schenker's
question on the edition number and retail price of his
Instrumentations-Tabelle.
-
OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11,
1912
Eugen d'Albert suggests they attend a concert together on June
24.
-
BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912
Schenker asks for guidance on the location of autograph manuscripts of
Beethoven's last five piano sonatas, in particular that of Op. 109.
-
WSLB 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912
Schenker reports the state of play [on the Organisation] and again urges
Hertzka to contact Dr. Harpner.
-
OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912
In response to Schenker's inquiry as to the locations of autograph manuscripts
of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's
Urtext edition and to Nottebohm's writings.
-
OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to
Schenker, dated June 21, 1912
The writers announce plans to institute a regular program of lectures under the
auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a
lecture or lecture series.
-
WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
-
OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912
Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's
Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will
study it.
-
WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912
Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to
himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to
teach.
-
OC 52/90 Typewritten letter from Hertzka (UE) to Schenker, dated June 28, 1912
Hertzka is unable to complete the contract for Die letzten fünf Sonaten
Beethovens this week; he will send it next week.
-
OJ 5/14, [1] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated June 29,
1912
Schenker responds the the Gesellschaft der Musikfreunde's invitation to give a
lecture or series of lectures on a topic of his own choosing; commenting on the reasons behind
the proposal, and the style of lecture expected, he expresses his willingness, proposes a
subject, and states his fee.
-
WSLB 125 Handwritten letter from Schenker to Hertzka (UE), dated July 5, 1912
Schenker provides his summer address and looks forward to working on the
musicians' organization when be returns.
-
OJ 15/16, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912
Weisse asks Schenker a technical question about musical form; reports that Julia
Culp is considering singing his Mädchen-Lieder.
-
WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912
Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff,
and asks for the contract for Die letzten fünf Sonaten to be sent to him.
-
OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912
The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as
requested; the [contract for the] Letzen fünf Sonaten edition will be dealt
with.
-
OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912
Eduard Gärtner regrets that he is unable to help.
-
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie;
— He responds to Schenker's question about the whereabouts of the autograph manuscript of
Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial
work.
-
OC 52/92 Typewritten letter from Hertzka (UE) to Schenker, dated July 19, 1912
Hertzka sends the draft contract for Die letzten fünf Sonaten, and will deal
with the Musicians' Organization in the fall.
-
OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912
Weisse reports on progress with his string quintet.
-
WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912
Beethovens neunte Sinfonie: Schenker justifies the higher number of proof
corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf
Sonaten: he objects to a clause in the draft contract concerning correction costs, and
emphasizes the expenses that he himself is incurring in preparing the
edition.
-
OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912
Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s
Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of
the work.
-
OJ 12/29, [4] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated July 27, 1912
Lafite acknowledges OJ 5/14, [1] and Schenker's assent to taking part in the
planned series of lectures.
-
BNba Frimmel Nachl, [5] Handwritten letter from Schenker to Frimmel, dated August 4, 1912
Schenker reports that he has heard from Mandyczewski that the autograph of
Beethoven's piano sonata Op. 109 is owned by Poldy Wittgenstein. He will need to go to
Berlin for the remaining manuscripts.
-
OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912]
Weisse reports of progress with his string quintet; expresses his delight at
Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and
theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He
appeals to Schenker to give him piano lessons, and reports other matters.
-
WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912
Schenker informs Hertzka that he has been approached by the Gesellschaft der
Musikfreunde with a view to his teaching a course at the Society's new "free high school"
beginning in October, and inquires whether Hertzka will meet his demands so that he can
proceed with Die letzen fünf Sonaten Beethovens.
-
OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912
Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress
with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for
piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from
Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in
Pontresina.
-
OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912
Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s
Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna
Academy and hopes that some good will come of it. In response to a letter from Schenker, he
expresses his agreement with what Schenker has to say about Wagner, and again praises his
friend for the serious intent of his writings.
-
OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912
Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too
general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by
Schenker, but only after 500 copies have been sold.
-
WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912
In the most aggressive letter yet on Hertzka's approach over honoraria and
correction costs, Schenker asserts that UE ought to subsidize his works through the takings
on the lucrative works of others. UE acquires Schenker's works for a fraction of their true
value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract
for his Die letzten fünf Sonaten Beethovens with an implied threat of
withdrawal.
-
OJ 15/16, [9] Handwritten letter from Weisse to Schenker, dated August 15, 1912
Weisse asks detailed question on musical form for the Scherzo of his string
quintet.
-
OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912
Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause;
Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary
honorarium, but assures Schenker of his good will toward him.
-
OJ 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912]
Mrs. Colbert pleads to resume piano lessons with Schenker.
-
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26,
1912]
Recounting the backstory of the move to found an [Austrian] organization of
musicians, and painting it as a rearguard action by performers against the dominance of Neue
freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an
approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to
the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he
complains at the timid tone of Universal Edition's advertising of his own
works.
-
OJ 15/16, [10] Handwritten letter from Weisse to Schenker, dated August 27, 1912
Weisse has been studying an example of rondo form in Mozart; he is enjoying the
culture of Basel; gives his return date to Bad Ischl.
-
OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
-
OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912
Krebs is unable to give Schenker information as to the whereabouts of the
autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109
-
WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker asks for the first installment of his honorarium for Die letzten fünf
Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the
Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary
honorarium for proof correction of Beethovens neunte Sinfonie.
-
OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 14, 1912
Lafite invites Schenker to call on him to discuss the conditions of the
lectures.
-
OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15,
1912
Schenker explains why he deprecates strongly giving a student only one lesson a
week and positively recommends two or three; he leaves the matter to Colbert, but gives him a
difficult choice.
-
WSLB 135 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker insistently reiterates his request for the first half honorarium for
Die letzten fünf Sonaten Beethovens. — He alludes to an announcement by the Gesellschaft der
Musikfreunde.
-
GdM Exh.332, [2] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musik), dated
September 16, 1912
Schenker declines Lafite's invitation to discuss in person the topic, date and
fee of his proposed lectures to the Society, and asks him to put suggestions in
writing.
-
OC 52/98 Typewritten letter from Hertzka (UE) to Schenker, dated September 16,
1912
In sending the first installment of Schenker's honorarium for the Last Five
Sonatas of Beethoven, Hertzka apologizes for its delay. — He asks for a meeting about the
Organization.
-
OJ 9/30, [3] Handwritten letter from Tony Colbert to Schenker, undated [September 16,
1912]
Mrs. Colbert begs to be accepted back as a pupil on one lesson a week. She has
asked Sofie Deutsch whether she would give over one of her two lessons to her and Mrs. Deutsch
has declined; she now asks whether Mrs. Stirling might agree to do the same.
-
OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 18, 1912
The Gesellschaft der Musikfreunde can accommodate a series of only three
lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic,
and proposes a fee.
-
GdM Exh.332, [3] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musikfreunde), dated
September 20, 1912
Schenker turns down Lafite's proposal in polemical manner.
-
OJ 12/29, [7] Draft letter from Schenker to Carl Lafite, undated [September 20, 1912]
Draft of GdM Exh. 332, [3], in which Schenker turns down Lafite's proposal in
polemical manner.
-
WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21,
1912
Schenker reports the stormy end to the prospect of his teaching in the
Gesellschaft der Musikfreunde's "Hochschule."
-
WSLB 137 Handwritten letter from Schenker to Hertzka (UE), dated September 24,
1912
Schenker reports developments on the Organization front and also the
Gesellschaft der Musikfreunde's "Hochschule" front.
-
OC 52/100 Typewritten letter from Hertzka (UE) to Schenker, dated September 27,
1912
Hertzka has tried and failed to telephone Dr. Harpner because he is
ill.
-
OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der
Musikfreunde), dated September 27, 1912
Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav
Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he
lodges his complaint at the way in which he has been treated, which he considers impolite and
publicly demeaning, and withdraws his offer of lectures.
-
OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912
Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly
published) monograph on Beethoven's Ninth Symphony.
-
OC 52/102 Typewritten letter from Hertzka (UE) to Schenker, dated October 3, 1912
Hertzka gives his reaction to a letter from Hugo Heller to
Schenker.
-
WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912
Schenker forwards a letter from Hugo Heller [from Germany] and asks how he
should handle the matter [of the proposed Organisation], pointing out that a comparable
movement has already be launched in Germany.
-
OJ 15/16, [11] Handwritten letter from Weisse to Schenker, dated October 6, 1912
Weisse has heard nothing from Moriz Violin and is anxious to transfer to Schenker
for piano lessons.
-
OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10,
1912]
Eugen d'Albert proposes that Schenker take on a 15-year old
musician.
-
WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October14, 1912
Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He
prompts yet again for the "supplementary honorarium."
-
OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912
Hertzka will speak with Harpner next week.
-
OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 31, 1912
Kopfermann informs Schenker which late Beethoven piano sonatas the Library has
autograph pages of, and the arrangements for making photographs.
-
WSLB 141 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1912
In a satyrical letter, Schenker asks Hertzka to make up his mind about the
compositions of Hans Weisse submitted for publication.
-
OC 52/105 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1912
Hertzka returns the compositions by Hans Weisse submitted for consideration,
giving reasons. — He has to stand aside for a time from the "Alliance" [recte Organization]
on health grounds.
-
OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
-
WSLB 142 Handwritten letter from Schenker to Hertzka (UE), dated November 10, 1912
Schenker responds to Hertzka's claim of overwork and strained nerves,
remarking that everybody [on the matter of the proposed Organization] is "holding back,"
even he himself.
-
WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28],
1912
Schenker requests another copy of Beethoven Op. 109, and lists the sources he
has now consulted, the communications with scholars, the cost and time involved, proclaims
the "spectacular" findings made, and the incompetence of all previous editors
unmasked.
-
OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912
Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear
of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance"
[recte "Organization"], on which he has some new ideas. -- He may look again at Hans
Weisse's music in 1913.
-
OJ 9/6, [58] Handwritten letter from Eugen d’Albert to Schenker, dated December 4,
1912
Eugen d'Albert thanks Schenker for his communication, and hopes to meet
with him, perhaps in mid-December.
-
OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912
Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified
version of Schenker's Harmonielehre, impugning Vrieslander's motives.
-
OJ 15/16, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913
Weisse proposes composing a completely new first movement for his string
quintet.
-
OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913
Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares
his allegiance to Schenker effusively. He asks to call on March 31 (his
birthday).
-
OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913
Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming
review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new
pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by
supporters of Schoenberg.
-
OJ 13/23, [1] Printed form letter from Hugo Riemann to Schenker, postmarked April 15,
1913
Riemann requests autobiographical information for his
Lexikon.
-
OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913
Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use
of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about
this.
-
OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26,
1913
Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held
by the Beethoven-Haus, and the extent to which photography of it has been carried
out.
-
OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913
Weisse reports receipt of a letter from Moriz Violin.
-
WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913
Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.
-
OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913
Weisse sends a copy of a book [unidentified] and thanks Schenker again for his
teaching.
-
OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913
Weisse asks for guidance on technical questions in his rewriting of the first
movement of his string quintet.
-
OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913
Weisse reports on progress with his string quintet, and lists his travel plans
for late September.
-
OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6,
1913
Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are
late works and inferior to the early and middle-period works.
-
OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
-
OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913
Weisse reports a conversation with Franz Steiner about Richard Strauss and his
alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with
Schenker.
-
OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16,
1913
Schenker regrets that he is unable to offer Newlov lessons in the coming
season.
-
OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]
Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein
grand piano, a Hammerklavier copy, and a clavichord.
-
OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913]
Weisse expresses his delight at the approach just made to his teacher from
publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has
learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be
addressed in future by the familiar "Du," though he would want to continue to use "Sie" when
addressing his teacher.
-
OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24,
1913
Schenker says he has not received an alleged letter from Newlov; — he asks about
payment outstanding from 1912/13 season.
-
OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913
Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil.
He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒
to him for instruction.
-
OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25,
1913
Angry letter in which Schenker defends himself against the accusation that he is
demanding a fee that has already been paid: he has all her letters, copies of his own, and all
her payment slips. He describes her unorthodox payment system, comparing it with that of other
pupils. He details her payment record for 1912/13 and insists on payment for June
1913.
-
OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]
Hammer regrets Schenker's refusal to teach his wife.
-
OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913
Koch will send required information.
-
OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op.
109.
-
OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913
Karpath had asked Schenker for support for Mittelmann and complains at Schenker's
rude reaction.
-
OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 21, 1913
The Library's photographer has been inundated with work and unable to start on
Schenker's order.
-
OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913]
Weisse reiterates his congratulations on the approach from C. F. Peters, and
sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day
before.
-
OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913
Koch lists the Beethoven manuscript items in his possession.
-
OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913
Koch agrees to supply photographs of Op. 110.
-
OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 30, 1913
Kopfermann notifies Schenker of the dispatch of photographs and of the
cost.
-
OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913]
Returning home from a lesson with Schenker, Weisse makes observations on the
second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's
approval of his interpretation.
-
OJ 9/7, [1] Handwritten letter from Hermine d’Albert to Schenker, dated November 1,
1913
Hermine d'Albert writes that Schenker's letter to her husband has caused
him some distress, and he will provide an explanation in person. She hopes that
Schenker will be sitting near to her at the concert.
-
OJ 9/7, [A] Handwritten letter from Hermine d’Albert to Schenker, undated
Hermine d'Albert on behalf of her husband invites Schenker for
tomorrow.
-
OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913
Dahms acknowledges receipt of Schenker's letter of September 27 and the
Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be
disseminating his work.
-
OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12,
1913
Schenker thanks Evelina Pairamall warmly for sending him an article by
Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth
Symphony, and reports to her his own work on another autograph of that work. -- He asks if she
is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke
employing musical technical terms.
-
OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913]
This communication consists of three parts: p. 1 offers an interpretation of a
passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer
concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of
the Waltz No. 12 from Brahms's Op. 39.
-
OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated November 18, 1913
Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony
that Schenker has requested; and notifies him of another source of this work in the Library's
holdings.
-
OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913
Koch gives the provenance of the Op. 110 manuscript in his possession, and
other information.
-
BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27,
1913
Schenker asks the Beethoven-Haus to prepare and supply him with photographs of
the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111,
and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's
Ninth Symphony.
-
OJ 6/5, [29] Handwritten letter from Heinrich Schenker to Valerie Violin, dated November 28,
1913
Heinrich and Jeanette have regarded it as their duty to invite Fanny Violin on
each occasion that they invited Moriz and Valerie; their conduct is thus blameless; only now
have they understood Fanny's true meaning in writing as she did after two years. They wish to
place no pressure on her and to help her overcome her illness.
-
OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
-
OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913
Max Meinert does not know the whereabouts of the autograph manuscripts of Op.
101 and Op. 106.
-
BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 3, 1913
Schmidt consults Zitelmann as to whether to make photographs of the
first movement of Beethoven Op. 111 for Schenker,
-
OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
3, 1913
Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich
Rose, direct in ordering photographs of the autograph manuscript of the first movement of
Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth
Symphony to the Beethoven-Haus library.
-
BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913
Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op.
27, No. 2, and Op. 28.
-
BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913
Schenker states that he is writing a letter placing an order for photographs of
Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend
his permission to cover the latter two manuscripts.
-
OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
13, 1913
Schmidt thanks Schenker for the copy of his monograph Beethovens neunte
Sinfonie, and raises points of detail about the photography of the three requested
works.
-
BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 14, 1913
Schmidt consults Zitelmann as to whether Schenker should be granted permission
for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other
Beethoven-Haus business.
-
BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague,
dated December 14, 1913
Schmidt suggests that permission for photography of Beethoven's sonatas Op.
27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus
business.
-
OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913
Meinert has been unable to obtain further information.
-
BNba 304g, [4a] Handwritten letter from Ernst Zitelmann (Beethoven-Haus) to an unidentified
colleague, dated December 18, 1913
Zitelmann responds to an unidentified colleague regarding F. A. Schmidt's
letters conveying Schenker's requests for photography and the use of an outside photographer
for these purposes.
-
OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 20, 1913
Kopfermann inquires after Schenker's photographic requirements.
-
OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 22, 1913
Kopfermann sends five photographic prints.
-
BNba 304g, [5]-[6] Handwritten letter and declaration from Schenker to Ernst Zitelmann, dated February 28,
1914
Schenker submits a declaration on his usage of photographic materials
received.
-
BNba 304g, [7] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
March 2, 1914
Schmidt forwards Schenker's "Declaration" to Zitelmann.
-
OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914
Dahms wishes to start his musical studies afresh in Schenker's "shool," asks
whether there is anyone in Berlin who can teach him, also explores the possibility of coming to
Vienna.
-
OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914
Schenker outlines his financial situation and rehearses alternative plans for
study with Schenker.
-
UG 32/5, [1] Handwritten letter from Schenker to Guido Adler, dated April 21, 1914
Letter of recommendation for Hans Weisse
-
OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914
Dahms says he is not well liked in some Berlin quarters for opposing "fashionable
music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in
the winter.
-
BNba 304g, [8] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated June 19,
1914
Schenker asks if the Beethoven-Haus Archive has a copy of the Cappi &
Diabelli early edition of Op. 111.
-
OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche
Bibliothek zu Berlin) to Schenker, dated June 19, 1914
Altmann sends three early editions of Op. 111 on lean.
-
OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914
Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is
sure there will come a day when Schenker's work is fully appreciated.
-
OJ 15/16, [22] Handwritten letter from Weisse to Schenker, dated July 7, 1914
Weisse reports that he is engrossed in reading Jean-Paul, is resting, practising
piano, and studying Brahms's Second Symphony.
-
OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914
Dahms communicates from the Black Forest, commiserating over Schenker's
experiences with the Vienna Konzerthausgesellschaft.
-
OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914
Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung.
Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as
expounded in Schenker's Beitrag zur Ornamentik.
-
OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13,
1914]
Mrs. Colbert pleads for reduction of lessons to once every other week on account
of the war work she is doing and the difficulties that she and her husband are
facing.
-
OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914
Commenting on an article by Paumgartner, Weisse asks to come and play some new
compositions, and warns that he may be called up for war service.
-
OJ 15/34, [1] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, dated September 23,
[1914]
Zuckerkandl asks to call on Schenker.
-
OJ 9/30, [6] Handwritten letter from Tony Colbert to Schenker, dated November[?] 2[?],
1914
Mrs. Colbert has done no piano practice, and explains her circumstances; but she
asks Schenker to fit her in for a lesson every two weeks.
-
OJ 12/9, [9] Typewritten letter from Karpath to Schenker, dated November 14, 1914
Karpath invites Schenker to contribute to the periodical Der Merker, of which he
has recently become the editor-in-chief.
-
OJ 12/9, [10] Typewritten letter from Karpath to Schenker, dated November 21, 1914
Karpath describes his editorial policy for the periodical Der Merker and asks
Schenker for contributions.
-
OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
-
OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20,
1915]
Zuckerkandl reports on life in the military.
-
OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1,
1915
Dahms acknowledges Schenker's letter with joy; he is committed to the struggle
against the "other side."
-
OC B/270 Typewritten letter from Louis Koch to Schenker, dated November 29, 1915
Koch thanks Schenker for a copy of his elucidatory edition of Op. 111, and
reports his Chopin holdings.
-
OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916
Karpath accepts an article of Schenker's [for Der Merker] and asks for a
modification.
-
OJ 10/4, [1] Handwritten letter from Sophie Deutsch to Schenker, dated January 26,
1916
Sofie Deutsch informs Schenker of the bequest of a sum of money to fund his
future publications; she wishes him success in his "selfless work," and signs herself "your
grateful pupil."
-
OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916
Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker
to help him search.
-
OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916
Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to
call him by telephone.
-
OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916
Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before
his attendance at court to take on jointly with himself the surety for
Mittelmann.
-
OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916
Karpath reports attorney Kammerer's assessment and recommendations on the
Mittelmann case.
-
OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated;
Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916
Karpath forwards a letter from the attorney Kammerer's office saying that the
conclusion of the case against Mittelmann is expected soon.
-
OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916
Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". —
Reports on a Brahms concert attended. — He is in a rest home and working.
-
OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata
Op. 111, but expresses reservations about the political footnotes. He asks to bring a new
song to Schenker, since he is about to go to the battlefield.
-
OC 1B/5 Letter from Schenker to Evelina Pairamall, dated April 9, 1916
Letter in shorthand, indecipherable
-
OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1,
1916
Dahms laments the state of music and criticism in Berlin. — When the war is over
he plans to draw a line under his life so far and start again.
-
OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916
Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the
Kreuz-Zeitung.
-
OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916
Dahms holds out hope for the position of music critic at Der Abend of Vienna,
about which Schenker has inquired.— He reviews his past work; coming to Vienna is
imperative.
-
OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3,
1916
As a sign of his recovery, Weisse sends Schenker two poems while stationed in
Berezhany, “Der alte Jude” and “Die Dirne."
-
OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13
Mrs. Colbert thanks Schenker for flowers sent while she was in the
sanatorium.
-
WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916
Schenker tells Seligmann that he has arranged for copies of his critical
editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive
interest his works have received in Germany, and about Hugo Riemann asking him to provide
autobiographical material for an entry in the next edition of his music
lexicon.
-
OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916
Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of
humanity in the light of being in the midst of the war. — He incloses a cutting of an
article [about sources of Saint-Saëns's music.]
-
WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).
-
OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916
Dahms may be posted to Wilna, or may be discharged. He asks about the position of
music critic at the Vienna Der Abend.
-
OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18,
1916
Schenker excuses the raising of the name of Walter Dahms in connection with an
inquiry by Tony Colbert.
-
OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916
Dahms reacts to the news that the music-critic position at Der Abend is taken;
laments continued lack of opportunity to work.
-
OJ 5/27, [3] Handwritten letter (non-extant) from Schenker to Evenlina Pairamall, dated October
20, 1916
Schenker describes in detail how he works out Mrs. Pairamall's lesson schedule
according to her requests, and calculates her fee.
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OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916
Dahms reports on his situation, and seeks Schenker's interest in a forthcoming
lecture in Vienna by Willi von Möllendorf.
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OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December
1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to
Universal Edition.
-
OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916
Weisse is looking forward to leave in mid-December and to seeing
Schenker.
-
OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917
Weisse now has a piano in his army lodgings, plays in the evenings, expects to
send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat
is near. He has sent a pamphlet by Walther Rathenau.
-
OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated
December 3, 1916
The Rothschild Artists' Foundation invites Schenker to serve on a panel of
jurors with Guido Adler and Alfred Grünfeld.
-
OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December
17, 1916
President Alfred Stern expresses his regret at Schenker's refusal to serve as
a juror alongside Guido Adler for the Rothschild Artists' Foundation.
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OC 1B/9 Handwritten draft letter from Schenker to Halm, dated by later hand [December 29,
1916]
In his first letter to Halm, Schenker knows Halm's work and regards him as an
ally; he affirms that music has few primal laws (Urgesetze) that are immutable. — He cannot
intercede on Halm's behalf with Universal Edition.
-
OJ 13/36, [2] Printed form letter from Rudorff family to Schenker, dated December 31,
1916
Announces the death of Ernst Rudorff.
-
OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917
Halm reports on his recent and forthcoming publications
-
OJ 12/52, [1] Typewritten letter from Fritz Mendl to Schenker, dated January 12, 1917
Fritz Mendl informs Schenker of the bequests to him in Sofie Deutsch's will,
and asks him to come to a meeting.
-
OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917
Back in military service after Christmas leave, Weisse reflects on the nature of
duty, and recommends F. W. Foerster’s Lebensführung to Schenker.
-
OJ 13/36, [3] Printed form letter from Rudorff family to Schenker, dated January, 1917
Form letter of thanks for condolences received.
-
OJ 11/35, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917
Halm reports on his current piano and chamber music publishing plans, and
employment.
-
OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917
Weisse asks if Schenker has not received his previous message; he is reading
Kontrapunkt I.
-
OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917
Dahms's nerves are bad and he has difficulty doing any serious reading. —
Moellendorf has sent a review of the quarter-tone harmonium, and Dahms
comments.
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OC 16/27-29 Typewritten letter from Siegfried Türkel to Schenker, dated March 10,
1917
Concerning the Sofie Deutsch estate, Siegrfriel Türkel recommends Schenker to
put in a claim for his honorarium without delay.
-
OC 1 B/19-20 Handwritten draft letter from Schenker to Hugo Friedmann, dated March 12,
1917
In light of the bequests to him in Mrs. Deutsch's will, Schenker seems to
remind Friedmann that she had also placed at his disposal in 1916 a sum of 10,000 Marks to
support his future publications. He wishes to make clear that that sum remains in place in
addition to the legacy and pension bestowed on him now in her will. He also expresses the
misgivings he has on the stipends implemented via the will. He is also anxious not to have
lost the first pension payment.
-
OC 16/30v-33v Typewritten letter from Siegfried Türkel to Schenker, dated March 13,
1917
Dr. Türkel apologizes for failing to realize that Schenker was a
fellow-lawyer, and announces that the 5,000 Kronen bequeathed in Sofie Deutsch's will have
now reached him.
-
OC 16/32v Handwritten draft letter fragment from Schenker to Hugo Friedmann, dated March 14,
1917
Final page only, in which Schenker reserves further decisions regarding his
legacies from Sofie Deutsch's will.
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OC 1 B/23 Handwritten draft letter from Schenker to Siegfried Türkel, dated March 17,
1917
Schenker encloses a letter from Dr. Hugo Friedmann and comments on it,
ridiculing the lack of sophistication of the wealthy, and asserting his own indifference to
money.
-
OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917
Dahms reacts to Schenker's suggestion of a stipendium for study in
Vienna.
-
OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917
Halm attempts to identify the fundamental differences between their two views,
with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for
some years.
-
OJ 12/9, [21] Printed notice by Ludwig Karpath, dated end of March 1917
Karpath announces that he is standing down as the chief editor of the periodical
Der Merker.
-
OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917
Dahms comments on the political situation and decries widespread
corruption.
-
OC 38/146v Fragment of a typewritten letter from Siegfried Türkel to Schenker, dated March 13,
1917
Fragment of letter.
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OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917
Dahms hopes for a posting to Berlin; he is gaining strength from reading
Kierkegaard.
-
OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917
Halm seeks advice on choice of edition for the Beethoven variations, and offers
advice in negotiating with publishers.
-
DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917
Schenker acknowledges Halm's letter; he discusses the relative merits of editions
of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions";
he is putting the finishing touches to Kontrapunkt 2.
-
OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917
Dahms decries democracy's reliance on the "common man" and deplores its
disregard of intellectuals and artists.
-
OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917
Dahms is now with the War Ministry in Berlin. He comments on Korngold and
Bruckner.
-
OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917
Dahms is expecting peace soon. Refers to Schenker's remarks on
Bruckner.
-
OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917
In response to the Violins' condolences on the death of his mother, Schenker
reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely
to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and
Jeanette are unable to visit the Violins in the cold and without adequate
clothing.
-
OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918
Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage
from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs
Schenker of his imminent change of address.
-
OJ 15/34, [3] Handwritten letter from Viktor Zuckerkandl to Schenker, dated January 14,
[1918]
Acknowledges one postcard; the other reaches him while writing the letter.
Reports and comments on article by Hans Friedrich in Der Merker. Remarks on the nature of
hatred, national and personal, in wartime.
-
DLA 69.930/2 Handwritten letter from Schenker to Halm, dated January 17, 1918
Schenker has received Halm's article about him, and expresses his appreciation.
Schenker's mother died in December 1917; he looked after her and his siblings from the time his
father died [1887]. Addresses a reservation on Halm's part—speaking to him as "leader to
leader"—and confirms his concept of the Volk. Schenker has a plan to put to Halm.
-
OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918
Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a
contradiction, and he concedes it, referring to several of his publications. UE has not
responded to his request for review copies of Schenker's works, so suggests a reciprocal
exchange.
-
OJ 5/38, [1] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm Schenker,
dated January 24, 1918
Heinrich comments on the attack of the mumps, from which Wilhelm's children are
suffering. Heinrich encourages Wilhelm and his family to move from Kautzen permanently, and in
that connection will investigate the cost of having Julia Schenker's body moved from Waidhofen
to Vienna for burial with the cooperation of the Vienna Kultusgemeinde. He envisions purchasing
burial plots for Jeanette and himself adjacent to Julia's grave. He thanks Dodi for her
invitation to stay with them if Vienna becomes intolerable.
-
WSLB 292 Handwritten letter from Schenker to Hertzka (UE), dated January 30, 1918
Schenker complains that Halm's request to receive review copies of others of his
works has been ignored by UE, threatens to pay for them himself, and asks to be notified when
they are dispatched.
-
OC 52/203 Typed letter from Hertzka (UE) to Schenker, dated February 5, 1918
Hertzka acknowledges WSLB 292 and apologizes for late reply; he knows nothing of
August Halm's request for review copies of Schenker's other works, but has ordered a complete
set to be sent to him.
-
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 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi
Schenker, dated February 5, 1918
Heinrich relays back the price of transferring Julia Schenker's body from
Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious
Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles
with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining
twine for repairing shirts. She comments on the Versailles Council of War as confirming
Heinrich's warnings.
-
DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918
Schenker writes scathingly of UE's business practices; describes his
counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of
Halm's writings and asks for a reading-list
-
OJ 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918
Halm acknowledges receipt of item from Schenker's publisher, and plans to
reciprocate, but has little time in which to order items. Copies of his essay about Schenker
have been misdirected.
-
OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918
Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe;
he is a Riemann pupil, and has a keen interest in analyses.
-
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.
-
OJ 15/16, [33] Handwritten letter from Weisse to Schenker, dated February 18, 1918
Weisse apologizes profusely for not having paid his condolences to Schenker upon
the death of his mother.
-
OC 1 B/34r Handwritten draft letter from Schenker to Türkel, dated February 24, 1918
Schenker addresses legal obstructions regarding Sofie Deutsch's will, and
threatens to go back on an earlier disclaimer if he continues to be deprived of the inheritance
due to him; notifies Türkel that he has already paid out the first stipend, to Otto Vrieslander,
and has promised the second and third to two composers (unnamed).
-
OJ 15/16, [34] Handwritten letter from Weisse to Schenker, dated February 26, 1918
Weisse expresses his concerns about a proposed Festschrift in celebration of
Schenker's fiftieth birthday, fearing that the work will be written largely by eminent people
and journalists who have little knowledge of his teaching and so will not do justice to him as a
theorist; asks Schenker for his own opinion of the matter.
-
OC 52/559 Typed letter from Hertzka (UE) to Schenker, dated March 5, 1918
Hertzka will inquire about a review published in Lausanne; has dispatched Op. 111
to Steglich and encloses invoice and payment order; in light of Brest-Litovsk, he inquires about
Kontrapunkt2 and the Kleine Bibibliothek.
-
WSLB 296 Handwritten letter from Schenker to Hertzka (UE), dated March 8, 1918
Schenker thanks Hertzka for dispatching Op. 111 to Steglich, but baulks at paying
the specified amount and sends less. -- Must finish Kontrapunkt 2 and will then return to the
Kleine Bibliothek.
-
OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918
[50th Festschrift:] Schenker intends not to influence anyone in their decision to
contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in
OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including
the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and
the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how
dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live
so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the
Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.
-
WSLB 297 Handwritten letter from Schenker to Hertzka (UE), dated April 9, 1918
Schenker encloses a review by Bekker and comments adversely.
-
OC 52/205 Typed letter from Hertzka (UE) to Schenker, dated April 10, 1918
Hertzka returns the Bekker review with thanks, and reflects on Schenker's remarks
concerning Urtext editions; he encloses the requested copy of the Gazette de Lausanne.
-
WSLB 298 Handwritten letter from Schenker to Hertzka (UE), dated April 17, 1918
Schenker returns the article by Maurice Kufferath and comments on it critically.
-- Beethoven did give phrase-markings, thus Schenker advocates inserting fingering but not
additional phrase-marks. -- Diatribe against Hans von Bülow's editions and those who have
emulated him.
-
OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918
Weisse reports his renewed interest in counterpoint through the rereading of the
first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has
heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will
order and report on to his teacher.
-
OJ 10/1, [33] Handwritten letter from Dahms to Schenker, dated June 15, 1918
Dahms sends 50th birthday wishes [and encloses a published article].
-
OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918
Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as
redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda
of the first movement.
-
OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918
Karpath contests Schenker's argument that failing to write an obituary for Eduard
Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to
a commemorative article on Gärtner.
-
OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918
Dahms thanks Schenker for his long letter; reports on his vacation in Munich and
visit with Vrieslander; he is looking forward to studying with Schenker in Vienna.
-
OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21,
1918
Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a
critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue
Oesterreich from Schenker, and hopes for regular contributions in future.
-
OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28,
1918
Moriz Schenker reports that he has received a letter from Sophie and Salo
Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and
hopes to call on Heinrich.
-
OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28,
1918
Moriz Schenker promises Sophie and Salo Guttmann that he will help them by
writing to a senior official and guaranteeing their war loan, and asks for details. — He will be
traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.
-
OJ 9/32, [37] Printed and handwritten letter from Cotta to Schenker, dated September 1,
1918
Payment advice note for sales 1917.
-
OJ 14/5, [10] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 15,
1919
Moriz Schenker found Schenker not at home; can come Thursday; Heinrich's money is
available for collection.
-
OJ 15/5, [2] Handwritten letter from Eberhard von Waechter to Schenker, dated September 17,
1918
Waechter tries again to elicit contributions from Schenker to Das Neue
Oesterreich, and asks Schenker's opinion on an analysis of a Schubert song. Schenker's
honorarium for lessons is too high.
-
OJ 5/43, [1] Handwritten draft letter from Schenker to Eberhard von Waechter, dated September 28,
1918
Schenker thanks Waechter for sending some of his work and praises it for being on
the right path toward genius; he questions musical education and existing music periodicals.
-
OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918
Still in military service, Weisse asks Schenker for advice regarding the
interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony.
-
WSLB 300 Handwritten letter from Schenker to Hertzka (UE), dated October 25, 1918
Schenker encloses his letter to Gurlitt and asks Hertzka to arrange for it to be
sent.
-
OJ 14/37, [3] Handwritten letter from Paula Szalit to Schenker, dated November 9, 1918
Paula Szalit describes her desire to return to the concert and teaching
worlds, and asks for a consultation.
-
OJ 6/6, [8] Handwritten letter from Schenker to Moriz Violin, dated November 9, 1918
Schenker reports news from Russia, Austria, Switzerland, and Poland, and comments
on the current political situation.
-
DLA 69.930/4 Handwritten letter from Schenker to Halm, dated December 9, 1918
Schenker recounts to Halm how Sofie Deutsch had set up a trust for needy artists,
leaving Schenker to identify beneficiaries. Schenker offers to transfer 1,600 Kroner to him from
this trust.
-
OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918
Halm thanks Schenker for assistance over stipend; asks if Schenker has received
compositions sent to him; Halm's post-War prospects may be better.
-
OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918
Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present.
-
OJ 14/40, [1a] Typed letter from Türkel to Schenker, dated December 27, 1918
Acknowledges letter of December 25, 1918 [not surviving]; Türkel distances
himself from Schenker's recent actions [over stipends]; Schenker cannot count on restitution of
money overspent; these matters have nothing to do with Türkel or the Deutsch estate. Encloses[?]
copy of earlier "disclaimer" [= OJ 14/40, [1b]].
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OJ 11/35, [10a] Handwritten letter from Halm to Schenker, dated December 31, 1918
Halm acknowledges DLA 69.930/6; asks for payment to be made to his Esslingen bank
a/c; comments on effects of currency changes; refers to assistance offered by Schenker.
-
LC ASC 27/45, [2a] Handwritten letter from Moriz Violin to Schoenberg, dated January 13,
1919
Violin urgently asks to meet.
-
OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919
Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires
after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two
movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he
will soon send compositions, and asks for unsparing criticism.
-
OJ 12/9, [24] Typewritten letter from Karpath to Schenker, dated March 11, 1919
The amount [for Hammerschlag] was 500, not 400, Kronen.
-
OJ 10/1, [36] Handwritten letter from Dahms to Schenker, dated March 15, 1919
Dahms is spending time with Otto Vrieslander, working through Schenker's
Harmonielehre with him and preparing himself for study with Schenker. He rejoices at the
crushing of German militarism.
-
OJ 12/9, [25] Handwritten letter from Karpath to Schenker, dated March 27, 1919
Mittelmann refused Schenker's 100 Kronen. Karpath has terminated Mittelmann's
working relationship with him.
-
WSLB 302 Handwritten letter from Schenker to Hertzka (UE), May 18, 1919
Schenker reminds Hertzka of Hans Weisse's doctoral dissertation, Der Kunstwalzer,
and recommends it for publication. He laments, in provocatively vulgar language, that the
Viennese have become subservient to the French.
-
OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
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OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to
Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art and all manifestations of human life are inextricably
interconnected. He claims that his pronouncements on politics now will prove correct in the long
run. His sole concern is with the truth; he is not interested in pandering to his readers.
-
OJ 10/1, [37] Handwritten letter from Dahms to Schenker, dated June 11, 1919
Dahms sends greetings on Schenker's birthday, finds solace in Nietzsche and
Kierkegaard, and is studying counterpoint with Vrieslander.
-
WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
-
OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919
Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will
remain unchanged.
-
OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919
On hearing that Schenker is already on holiday, and being not far from him (In
Bad Ischl), Weisse inquires about the possibility of paying a visit.
-
OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and
Moriz Violin, dated July 15, 1919
(1) Jeanette to Valerie: offers sympathy and reassurance about her illness;
describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie:
recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to
his own proneness to nervous depression; suggests that Valerie recuperate in Zell am
See.
-
OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919
Weisse accepts Schenker's invitation to visit him while on
holiday.
-
OJ 10/1, [39] Handwritten letter from Dahms to Schenker, dated August 9, 1919
Dahms is busy writing; hopes to visit Schenker around August 25.
-
OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17,
1919
Schenker hopes that colleagues will support Moriz Violin. – The court has favored
Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how
many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks
Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are
due for simultanous visits. – He is glad to hear Valerie Violin is better.
-
OJ 10/1, [40] Handwritten letter from Dahms to Schenker, dated August 23, 1919
Dahms gives his travel plans.
-
OJ 10/1, [41] Newspaper clipping from the Berliner Illustrite Zeitung, dated August 24,
1919
Illustrated article in the Berliner Illustrirte Zeitung with satirical comments
and underlinings by Dahms
-
OJ 12/62, [2] Stenographically handwritten letter from Cotta to Schenker, dated September 1,
1919
[NMTP I and II/1:] Cotta encloses sales report for 1918 and a check for M.
346.92.
-
OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919
Weisse thanks Schenker for his hospitality, and is glad to learn that he and
Jeanette will be able to remain on holiday at Klammerth's castle.
-
OJ 15/5, [3] Handwritten letter from Eberhard von Waechter to Schenker, dated September 2,
1919
Waechter is sending copy of his Schubert study, and offers to send the manuscript
of his forthcoming book for Schenker's assessment.
-
OJ 14/5, [9] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 3,
1919
Moriz Schenker assures Heinrich that his deposited money is safe, and expresses
delight that all impediment to the marriage has been rescinded.
-
OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919
Oppel expresses his pessimism in the aftermath of the war and the prospects for
his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a
teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a
review of the Erläuterungsausgabe, but he declined.
-
OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913
Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He
has finished work on two volumes of his documentary biography.
-
OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919
Dahms thanks the Schenker's for his time with them, and reports what he is doing
currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the
unprincipledness that its legal system and officialdom fosters.
-
OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919
Dahms responds to Schenker's letter (non-extant). He reflects on Prussian
militarism. He declares that there is no such things as "military genius"; Germany was as guilty
as the Entente Powers for the war; soldiers were treated as slaves by their officers, with
Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat
its people as Germany does. He believes only in the German spirit, which he regards as the
spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in
Schenker's work.
-
OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1,
1919
Waechter asks for an article on performance for Der Merker, remarking that
analysis takes the performer only so far, after which the latter's feelings must take over. He
praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his
latest book for Schenker's appraisal.
-
OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17,
1919
Schenker addresses the misunderstanding that has arisen, explaining his
willingness to contribute articles to Der Merker once his current projects are in print.
-
OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19,
1919
Waechter understands Schenker's wish not to pre-publish his Art of Performance in
article form, and hopes that Schenker will provide a universal solution to the performance
problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two
articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's
Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.
-
DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919
Schenker writes of the deteriorating intellectual conditions in Germany and
Austria with respect to other nations, and of the devastating political and psychological
consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and
speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about
these matters when he moves to Germany.
-
OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker that evening.
-
OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Friday.
-
OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Sunday.
-
OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler hopes to visit Schenker in about a week's time.
-
OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]
Furtwängler cancels meeting on account of illness.
-
OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks for a meeting this evening at Meißl.
-
OC 16/37v-36v Typed letter from Türkel to Schenker, dated November 3, 1919
Tükel reports the contents of a letter he has received from Dr. Friedmann.
-
OJ 11/35, 11 Handwritten letter from Halm to Schenker, dated November 3, 1919
Acknowledges DLA 69.930/8, October 27, 1919, sends a serenade and asks for
comments. Sends best wishes for relocation to Germany and inquires as to city.
-
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.
-
OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919
Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be
sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first
issue of Musikblätter des Anbruch.
-
WSLB 307 Handwritten letter from Schenker to Hertzka (UE), dated November 13, 1919
Schenker teases Hertzka over his offical's price calculation for Beethovens
Neunte Sinfonie; asks for Die letzten fünf Sonaten ... op. 111 for Dolfi Baudrexel; comments
caustically on the first issue of Musikblätter des Anbruch.
-
OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919
Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of
Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker
will contribute to Musikblätter des Anbruch.
-
OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919
Deutsch announces that he has taken over a book dealership, and seeks custom.
-
OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,]
1919
Furtwängler prizes Schenker's approval higher than that of others; he is
uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with
Schenker.
-
WSLB 308 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919
Schenker sends adjusted payment for two items received; his Kleine Bibliothek
will shake up the contributors to Musikblätter des Anbruch.
-
WSLB 309 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919
Schenker outlines a production schedule of his work for UE, which includes Die
letzten fünf Sonaten ... op. 101, the Kleine Bibliothek, and the complete edition of Beethoven
piano sonatas. He makes stipulations about production, and asks questions about honoraria.
-
OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919
Furtwängler proposes that they meet in a restaurant on Saturday evening.
-
OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919
Dahms discusses his future prospects for study, particular where to study (he
discusses conditions in several cities), and with whom. He asks Schenker's advice. He is
resolved to leave Vrieslander because of the latter's pessimism.
-
OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919
Hertzka is pleased to hear that the availability of the autograph manuscript of
Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in
agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks
for a meeting to discuss the honorarium.
-
WSLB 304 Handwritten letter from Schenker to Hertzka (UE), dated December 7, 1919
Schenker suggests date, place, and time for a meeting.
-
OC B/268 Typewritten letter from Louis Koch to Schenker, dated December 10, 1919
Koch asks about the format of the required photography.
-
OC 16/38v Typed letter from Türkel to Schenker, dated December 13, 1919
Türkel acknowledges letter and requests explanation.
-
WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919
Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs
while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine
Bibliothek and other tasks.
-
OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919
Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he
suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan
at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions
Schenker about growing costs of photographic work.
-
OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919
Dahms thanks Schenker for his advice on the next stage of instruction. He wrote
to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work
that he is doing under current adverse circumstances.
-
WSLB 305 Handwritten letter from Schenker to Hertzka (UE), dated December 21, 1919
Schenker informs Hertzka that he has ordered two more Beethoven sketchbooks in
connection with Op. 101, and asks him for some other "apportionment," which will protect him
from long-term deterioration of the exchange rate.
-
OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919
Thanking Schenker for his kindness, he agrees that Schenker should delay the
payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during
the summer of 1920.
-
OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5,
1920
Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared
upon receipt of application form.
-
OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920
Halm offers advice on securing satisfactory contractual terms, favoring
percentages over one-time payments.
-
OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8,
1920
Deutsch reports that Hertzka wants the music connoisseur edition of the
"Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch
outlines the basis of the contract (editors will receive 8% of the retail price) and the
production timetable. He asks if Schenker would rather take on a different facsimile due to
competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in
Vienna.
-
OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9,
1920
Deutsch is sorry that a customer prevented him for speaking with the Schenkers
when they visited his store. Photographic originals will be needed for the connoisseur
edition.
-
OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920
Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might
write history of music. —PS: Advises Sschenker to insure a regular income before moving to
Germany.
-
OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920
Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight"
Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete
Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the
latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von
Beethoven ... op. 101.
-
OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16,
1920
Deutsch will write to the Beethoven House in Bonn to seek permission to
reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as
the source for the missing opening and closing bars, and asks Schenker to refrain from
polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28,
109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the
manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K.
511.
-
DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920
Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the
opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding
EA 101 and the "Little Library," and must now protect himself and extract better working
conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every
level from strict counterpoint through to free composition. In a musical garden of Eden of
genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his
successes and thanks him for his support.
-
OC 52/509 Typed letter from Hertzka (UE) to Schenker, dated January 22, 1920
Alteration to 1912 contract for Die letzten fünf Sonaten von
Beethoven.
-
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
-
OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920
Hertzka is sending the publisher's copy of the contract for Die letzten fünf
Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile
edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected
sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in
accord.
-
OC 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920
Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on
him.
-
OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920
Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers
Schenker advice on the draft contract for the Kleine Bibliothek.
-
OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920
Halm acknowledges 69.930/9 and return of contracts. H is looking for a new
publisher for his compositions, and wonders whether Schenker would put in a good word to UE on
his behalf, or whether Schenker knows of a small press that might be suitable. Wishes
Furtwängler would perform something of his.
-
OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25,
1920
Altmann is glad Schenker hopes to visit the Library; photography of Chopin
Etudes Op. 10 is in progress.
-
OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920
Koch is sending photographs separately.
-
OC B/260 Handwritten letter from Gustav Rapp & Co. to Schenker, dated March 9,
1920
Rapp encloses invoice.
-
OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920
Hertzka thanks Schenker for commiserations, expresses pleasure that the
photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek.
-
OC 52/547 Typed letter from Hertzka (UE) to Schenker, dated March 22, 1920
Hertzka sends contracts for the Kleine Bibliotek and Beethoven complete sonatas,
explains the alterations that have been made to these since their recent conversation, and asks
for their signed return. Marginal calculations by Schenker.
-
OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920
Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven
sonatas edition, and laments their difficulty in meeting.
-
OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920
Fischmann asks Schenker to call on him on March 31.
-
OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920
Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the
collected Beethoven piano sonatas.
-
OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920
Türkel corrects Schenker and suggests he make inquiries with Friedmann.
-
OC 52/408 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Accounts Department informs Schenker that the last edition of Niloff
Instrumentations-Tabelle occurred in 1917, the honorarium for that was paid, but the work is
going to press.
-
OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven
sonatas, hoping that it will meet with approval. -- He explains the rise in price of the
Instrumentations-Tabelle.
-
OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920
Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing
with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.
-
OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920
Hertzka agrees to pay extra costs for photography [of Op. 53], but sets
conditions.
-
OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920
Fischmann sees two points still outstanding over the contracts for the Kleine
Bibliothek and Beethoven sonatas, and advises him how to handle them.
-
OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920
Altmann advises Schenker on the early sources of Beethoven piano sonatas in
the Library's possession.
-
OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920
Friedmann asks Schenker if he might explain the situation in
person.
-
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
-
OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920
Reflecting on the difficulty of finding housing and provisions, and on the recent
German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained
solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker
knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile
[musical] people in Salzburg.
-
OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920
Dahms sends birthday greetings and reflects on the sorry conditions for the arts
prevailing in the current political climate.
-
OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920
Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of
Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata.
-
OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920"
Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all
that Schenker has done for his artistic and human development, and declares himself ready to
continue in the service of his teacher's highest ideals.
-
OC 52/410 Typed letter from Hertzka (UE) to Schenker, dated July 2, 1920
The Book-keeper goes through the amounts paid to Schenker on account of the
Niloff [= Schenker] Instrumentations-Tabelle and the print-runs and publication dates of the
editions.
-
OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920
Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting
him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the
Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at
the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß
Wetterstein and Jean Paul's Levana.
-
OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920
Weisse reports his arrival for the summer in Ischl, and the grave illness that
has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of
Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural
and political ammunition against the French.
-
OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920
Dahms finds the Berlin musicians on vacation to be ignorant – "artistic
bolshevism." — He now understands Kurth's work better for Schenker's comments.
-
OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920
Weisse explains that his grandfather's death prevents him from visiting Schenker
in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer
holidays.
-
OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16,
1920
Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight"
Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he
cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside.
Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the
Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him
to write to the Museum to request a photograph of the sketchleaf.
-
OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920
Dahms is having difficulty obtaining a passport, but still hopes to see Schenker
this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is
apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something
more fitting.
-
OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
-
OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920
Carl Colbert invites Schenker to submit an article to Der Abend for the 150th
anniversary of Beethoven's birth.
-
OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
-
OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13,
1920
Deutsch asks Schenker to clarify whether bars are missing from the start of
the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal
Edition's intended format for the volume, and ask if Schenker approves of their proposals.
Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds
Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical
Times.
-
OC 52/411 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 14, 1920
Kalmus is glad Schenker approves of the type samples and gives estimates for the
extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting
Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a
1912 payment, and sends copies of Beethoven sonatas.
-
OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
-
OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1,
1920
Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata
for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their
sketchleaf of the Sonata.
-
OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
-
OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920
Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in
small type; he is writing to Paris about the "Appassionata."
-
OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6,
1920
Deutsch encloses two photographic prints of the Fitzwilliam Museum's
"Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed,
but has sent a description of its content, which Deutsch passes on.
-
OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26,
1920
Replying to Schenker's postcard of November 20th, Deutsch writes that the
connoisseur edition is to be reproduced using photolithography, and repeats the particulars
of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his
sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from
Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111).
Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks
for sight of the draft of Schenker's Preface.
-
OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920
Furtwängler proposes that they meet on Tuesday [November 30, 1920].
-
OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920
UE are delivering [first] proofs of Op. 111 and second proofs of figures [for
"Schubert: Ihr Bild"].
-
OC 52/413 Typed letter from Rothe (UE) to Schenker, dated December 7, 1920
500 Kronen transferred for Niloff fifth edition.
-
OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11,
1920
Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata
sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the
photographs and Preface to him. The photographic reproduction of the Sonata manuscript in
Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for
the prospectus.
-
OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920
Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka
offers two alternative solutions to UE's taking over of Kontrapunkt 2.
-
OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920
UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and
notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ...
op. 101.
-
OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
-
OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23,
1920
Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata
edition and five photographs of sketchleaves. He will send a formal contract in the next few
days.
-
OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28,
1920
Altmann reports extra cost of photographic work.
-
OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
-
OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920
Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes
urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of
the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.]
-
OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920
Halm acknowledges letter, sends one newly-published composition, and tells
Schenker of a forthcoming performance of a concerto by him, and three compositions turned down
for publication.
-
OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921
Dahms thanks Schenker for a photograph.
-
OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921
Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over
from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would
be required in a second edition of Kontrapunkt I.
-
OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30,
1921
The overdue ["Moonlight" Sonata edition] contract is finally ready, and
Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready.
Schenker should expect to receive an edited version of his commentary, and perhaps also an
English translation.
-
OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921
Dahms asks Schenker to recommend him to Cotta re: the book he is writing on
Italian opera.
-
OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
-
OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921
Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He
will soon obtain a passport and hopes to visit the Schenkers during the summer.
-
OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921
Dahms has to go to Berlin, after which he will explore visiting the Schenkers in
Galtür.
-
OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921
Weisse has completed a string quartet, the parts of which are being copied out,
after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as
a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept
because his knowledge of English is insufficient. He enquires about the progress of Schenker's
current projects.
-
OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921
Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to
receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large
Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of
Kontrapunkt.
-
OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921
Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments
neutrally on Schenker's incursions into politics, imagines something rather different by the
concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have
been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op.
110 and 101.
-
OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921
Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its
artists and critics.
-
OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921
Violin announces the formation of a piano trio ensemble with a violinist named
Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's
keyboard works, and reports on the incipient civil unrest in the wake of a national movement in
Germany.
-
OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9,
1921
Altmann reports on holdings of Handel keyboard works; and on progress in
photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op.
101.
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OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24,
1921
Deutsch reports that the "Moonlight" Sonata edition is almost finished, but
because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision
of the English preface. Schenker's photographic reproductions will be returned once a sample
print-out of the edition has been prepared and approved. The edition will launch in the
autumn, and Schenker's fee will have increased because of the delay.
-
OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921
Frimmel thanks Schenker for delivery of the latter's elucidatory editions of
Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration.
-
OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921
Violin reports on his work, and on musicians in Hamburg, and congratulates
Schenker on his (publication) successes.
-
OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15,
1921
Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of
the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to
Vrieslander.
-
OJ 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921
Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth
were present, and Hupka reports their critical reactions to his program. He visited the home of
Paul Hirsch.
-
OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921
Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms
as stuck in the past.
-
OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921
Hammer owns several of Schenker's books and is beginning to understand their
concepts.
-
JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921
Schenker seeks to articulate the difference between the painter's and the
composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper,"
and "Linie".
-
JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921
Schenker seeks to articulate the difference between the painter's and the
composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper,"
and "Linie".
-
JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921
Schenker seeks to articulate the difference between the painter's and the
composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper,"
and "Linie".
-
OC 52/486 Typewritten letter from Otto Erich Deutsch to Julie Kalbeck, Heinrich
Schenker, Eusebius Mandyczewski, and Hugo Schwarz, dated January 3, 1922
Otto Erich Deutsch writes concerning the contract for the series
Musikalische Seltenheiten, of which he is the general editor, and Universal Edition
the publisher. In view of the introduction by UE of "50 to 100" additional copies to
the print-run of 500 in a new luxury edition (handmade paper and half-leather
binding) of each volume, Deutsch seeks to obtain from UE improved royalty returns
for all the volume editors. He makes three recommendations, which he asks the four
current volume editors to affirm.
-
OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922
Schenker offers to lend Violin his performing materials for two keyboard
concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most
recent work, continues to despair of his financial situation.
-
OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922
In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses
his dismay that some of the performing material for keyboard concertos by C. P. E. Bach,
including original cadenzas by Schenker, appear to have gone missing. — He reports on his
growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's
extremely conservative musical tastes.
-
OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922
Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the
"Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography
of Beethoven.
-
OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to
Schenker with marginal note dated Feburary 27, 1922)
Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven
biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.
-
OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
-
OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922
Dahms's book, which has earned an award, is delayed at the bindery. He blames
this on the prevailing undisciplined conditions in Germany, criticizes the current government,
and predicts war.
-
OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922
Deutsch writes that the "Moonlight" Sonata facsimile edition is still being
printed, and that he cannot make a decision on the production of a second facsimile edition
until the new contract has been agreed with Universal Edition. The contract has been delayed
by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the
facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch
suggests Beethoven's String Quartet Op. 95 as an alternative.
-
OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922
Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue,
raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to
visit Schenker in Vienna soon.
-
OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922
Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to
reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When
Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven
manuscript.
-
OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922
Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in
C minor, Op. 111.
-
OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922
Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's
Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to
know which Beethoven string quartet Schenker would recommend for a further facsimile edition.
-
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 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922
Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks
for a reference for the Bekker article that Schenker mentioned.
-
JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922
Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an
instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to
read Fiedler and Hildebrand.
-
OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922
Hammer thanks Schenker for his letter and generosity, and invites Heinrich and
Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.
-
OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922
Weisse reports from Vienna that a sum of money has arrived, and will be paid to
its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in
Vorarlberg following a visit to the Schenkers in Galtür.
-
OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922
Halm announces publication of his three suites for piano trio, and has arranged for two of
them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration
for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on
other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He
describes his new publisher.
-
OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922
In this highly emotional letter, Violin describes his personal difficulties in
the face of spiraling inflation in Germany.
-
OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922
Miss Elias is unable to get to Galtüt on account of bad weather. — She
compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers
in Innsbruck on the homeward journey. — She confirms that she will be able to meet her
financial obligations in teh coming year.
-
OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922
Weisse reports that he is dealing with business matters entrusted to him by
Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the
midst of reading.
-
OJ 13/35, [2] Handwritten letter from Hilde Rubinraut to Schenker, dated September 1,
1922
Hilde Rubinraut explains her difficulties as a resident of Prague visiting
Vienna under current conditions; she asks Schenker in which currency she should pay his fee;
and seeks advice as to whether she should continue taking one piano and one theory lesson,
or opt, for a time, for two piano lessons.
-
OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922
Violin reports that his son Karl has suffered several setbacks of health,
including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making
strides.
-
OJ 13/35, [3] Handwritten letter from Hilde Rubinraut to Schenker, dated September 7,
1922
Hilde Rubinraut asks Schenker to name a gilt-edged currency in which to pay
him, and decides to opt for two piano lessons per 3-weekly visit.
-
DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
-
OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25,
1922
Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE
to send copies of Der Tonwille to the Preussische Staatsbibliothek.
-
OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9,
1922
Altmann acknowledges receipt of Der Tonwille and return of two editions, and
refers to Universal Edition.
-
OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922
Dahms chooses to remain in Italy in view of the "moral and physical devastation"
that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn
biography. He reports on a review of his book "Offenbarung."
-
OJ 12/59, [1] Handwritten letter from Siegfried Fritz Müller to Schenker, October 31,
1922
Siegfried Fritz Müller suspends his lessons with Schenker on account of his
father's financial circumstances.
-
DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922
Schenker acknowledges receipt of two booklets on youth and the new republic,
returns them, comments on them critically: idealistic German democrats desire maximal
remuneration with minimal work; illustrates point by difficulties with maids in Schenker
household; German democrats naively overestimate social and intellectual status of non-German
commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who
advocate individuality at the expense of society; Schenker praises the fascists as countering
communism and social leveling, compares Mussolini's Italy favorably with present-day
Germany.
-
OJ 11/35, 21 Handwritten letter from Halm to Schenker, dated September 30, 1922]
Halm acknowledges receipt of a letter, and returns newspaper
clippings.
-
OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
-
OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
-
OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922
Deutsch provides a full overview of Schenker income from the current sales reported by Universal
Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker
owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the
publication.
-
OJ 13/35, [4] Handwritten letter from Hilde Rubinraut to Schenker, dated January 5,
1923
Hilde Rubinraut reports that she has her permanent Austrian visa. -- She is
pregnant, and will have to defer visits to Vienna for a few weeks.
-
OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.
-
OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
-
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
-
OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923
Baroness Fischer gives names and addresses of five of her pupils to whom Der
Tonwille should be sent; she regrets that Schenker will not spread his theory further by
means of lectures.
-
OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923
Violin reports on a brief trip to Berlin for respite from the strain of teaching
and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him
for clarification of a matter concerning second-species counterpoint in two voices, discussed in
volume 1.
-
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
-
OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9,
1923
Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.
-
OJ 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12,
1923
Siegfried Fritz Müller asks for a testimonial for a piano teaching
position.
-
OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923
Violin has met an industrialist by the name of Max Temming who would be willing
to help make Schenker’s work more widely accessible. Violin will probably not visit the
Schenkers in Galtür this summer, as prices have gone up in Germany.
-
OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
-
OJ 12/58, [1] Handwritten letter from Paul Müller to Schenker, dated July 19, 1923
Paul Müller asks Schenker to write a testimonial for his son, Siegfried Fritz,
and expresses satisfaction at the latter's progress.
-
OJ 12/58, [2] Handwritten letter from Paul Müller to Schenker, dated July 20, 1923
Paul Müller thanks Schenker for a testimonial for his son, Siegfried
Fritz.
-
OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
-
OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923
Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.
-
OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7,
1923
Siegfried Fritz Müller reports on a recital that he has given, inclosing the
program and early reviews. –- He has just done an audition for the position for which he has
applied. -- He has to do a short period of military service, after which he will continue
his studies with Schenker.
-
OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923
Weisse asks Schenker why he and his wife treated him so coldly when they recently
met on the street; he suspects this had something to do with his recent trip to Italy, protests
his innocence but affirms his unchanged love for his teacher.
-
OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923
Halm has sent the published score of a string quartet to Schenker. —Patronage has
enabled him to publish three volumes of compositions; reports on current and past composition
activities and publications. —Discusses what he has learned from Schenker's theories, and
questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie;
Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that
Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives
further scores. —Halm considers socialism a "historical necessity."
-
OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
-
OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
-
OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923
Klenau agrees the date and time for his visit to Schenker.
-
OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20,
1923
Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks
for suggested pieces to prepare, and for the day and time of her first
lesson.
-
OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923
Klenau thanks Schenker for their discussion on September 21.
-
OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923
Klenau asks Schenker questions about the performance of the "Eroica"
Symphony.
-
OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10,
1923
Schenker offers further advice on performing the "Eroica"
Symphony.
-
OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
-
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 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923
Hammer buys all Schenker's publications, including Tonwille, but admits he has
difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; —
gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's
[Entwurf] wrong-headed.
-
JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923
Schenker invites Hammer and his wife for November 7; — The problem of the
"middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's
proposal to make Tonwille a quarterly publication.
-
OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923]
Hammer sympathizes with the composer's dilemma over middlemen, but points to
cases in which the painter has suffered a similar fate.
-
OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
-
OJ 12/59, [4] Handwritten letter from Siegfried Fritz Müller to Schenker, dated November 13,
1923
Siegfried Fritz Müller has a teaching job and reports how it is going. -- He
is studying Schenker's writings. -- He gives an unfavorable reaction to Walter Dahm's book
[Die Offenbarung der Musik: Eine Apotheose Friedrich Nietzsches]. -- He reports Carl
Bamberger's trip to Finland.
-
OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]
Having sent a subscription copy of Musik des Südens to Moriz Schenker and
received no acknowledgement, Dahms asks Schenker's help.
-
OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923
Dahms has now received acknowledgement from Moriz Schenker. — He asks
Schenker's help in approaching financier Castiglioni for financial backing for his planned
bel canto book.
-
OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923
Hammer thanks Schenker for hospitality on November 7, and recommends Eugen
Steinhof for lessons.
-
JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923
Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's
reaction to Halm's work, and comments unfavorably on the latter's musicianship, character,
and opinions; — he writes disparagingly of Robert Brünauer.
-
OJ 12/31, [1] Typewritten letter from Ernst Lamberg to Schenker, dated December 7, 1923
Concerning the Sofie Deutsch estate, Lamberg now has 2M Kronen to remit to
Schenker, and also 1.5M Kronen for the January 1924 disbursement of the Deutsch stipends. He
also sets out the arrangement that has been made for the event that the Verein zur Speisung
is dissolved.
-
OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923
Violin reports the conversion to a new, stable currency in Germany; Hamburg has
been among the first cities to benefit from this, as a result of which he is somewhat better off
and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if
only for a few days; this will give him an opportunity to discuss arrangements for the
distribution of copies of Der Tonwille to libraries and schools.
-
OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923
Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata
edition as a Christmas present for Marianne Kahn.
-
OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923
Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his
book writing, and sends New Year greetings to Heinrich and Jeanette.
-
OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923
Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being
unable to visit Schenker and Schenker's being unable to attend his performance of the Missa
solemnis.
-
OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
-
OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924
Money has arrived. Dahms hopes for better conditions in 1924.
-
OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte
1924]
Hammer refers to the making of a portrait; — he discusses German and Austrian art
with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art
of the French.
-
OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12,
1924
Schenker outlines his attitude to Bamberger's leaving him, and offers advice to
Weisse.
-
JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924
Schenker responds to a long letter from Hammer by, first, agreeing to his
proposal to sittings for a portrait, and, second, saying that there is no one in music now
capable of judging the artistry of musicians. Schenker feels he has uniquely this ability,
but others in music do not understand him.
-
OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924
Responding to Schenker's explanation of a recent coldness between them, Weisse
asserts that his questions arise only from his own studies, not from work with his pupils; it is
not fear, but dependency on Schenker as a "medium," that drives him to ask such
questions.
-
OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924
Halm checks that Schenker has received a letter and score from him. — He asks
for guidance over Oppel's music.
-
OJ 15/31, [1] Handwritten letter from Hermann Wunsch to Schenker, dated January 31,
1924
Hermann Wunsch thanks Schenker for the award of 2M Kronen as a stipend
from the Sofie Deutsch bequest, and reports on his recent compositional
activity.
-
OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
-
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
-
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 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924
Dahms thanks Schenker for information about Castiglione. The Deutsche
Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has
excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in
Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong
reaction outside Germany.
-
OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924
Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In
the former, he finds the graphs of the short preludes by Bach more difficult than anything that
Schenker has previously done. He will write to Bamberger with the offer of help (in finding an
accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of
his pupils, he offers an explanation for the falling direction of the transitional theme
(measures 24-30) and its reappearance in the development section (measures 94-100) in inverted,
ascending form; he asks if this interpretation is sensible.
-
OJ 15/31, [3] Handwritten letter from Hermann Wunsch to Schenker, dated March 29,
1924
Hermann Wunsch encloses a review of his second symphony, and asks for
Schenker's help in securing a performance in Vienna.
-
OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1,
1924
Halm attacks Schenker for condemning Berlioz's melodic practice without
substantiating his argument, and for harsh language. Halm compares Berlioz favorably to
Mendelssohn.
-
DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
-
OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924
Hammer invites Schenker to a first sitting for his portrait.
-
JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924
Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of
the forthcoming historical Beethoven Ninth Symphony concert.
-
OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6,
1924]
Halm again asks Schenker to point out an instance of non-genius in his [Halm's]
music. — Has long believed that foreground (= corporeality) has been neglected at the expense of
background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. —
Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major]
String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of
assistance with publication costs. — Comments on Reger.
-
OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924
Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments
on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them.
Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.
-
OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924]
Klenau asks Schenker to read over an article that he has
written.
-
UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May
21, 1924
The letter quotes the will of Mrs Sofie Deutsch, then announces that the
Verein is in process of dissolution, and decrees that the capital in question be devolved
upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its
attorney.
-
OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924
The Dahmses send birthday greetings. They are staying in the Abruzzi; will not
get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.
-
OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924
Miss Komorn thanks Schenker profusely for all that he has taught her in the
past year.
-
OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924
Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.
-
UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June
30, 1924
The letter quotes that of the Akademie für Musik to the Verein zur Speisung,
and requests transfer of sum of money tothe Akademie.
-
OJ 12/31, [2] Typewritten letter from Ernst Lamberg to Schenker, dated July 1, 1924
Ernst Lamberg informs Schenker that the Association for Feeding ... has
resolved to dissolve itself, and to make over a proportion of its capital to the Academy for
Music and Performing Arts.
-
OJ 5/24, [1] Handwritten draft letter from Schenker to Ernst Lamberg, dated July 8,
1924
Draft letter in which Schenker contends that Sofie Deutsch's intentions for
the administration of the stipends for composers that she created through her will are being
disregarded with the passing of the capital sum to the Academy for Music and Performing
Arts, and instructs Dr. Lamberg to write to Josef Marx, Director of the Academy, in these
terms.
-
OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924
Ernst Lamberg declines to write, as requested, to Josef Marx.
-
OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924
Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg),
Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.
-
OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924
Weisse is so absorbed in his work that he is unable to give Schenker a precise
number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg
soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German
Genius.” — Weisse will devote much time to composition during the coming season, and for this
reason will forego taking further lessons from Schenker.
-
OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924
Violin reports on continued negotiations with Max Temming on the distribution of
free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in
which something about Schenker's writings may have recently appeared). He expresses his
embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the
occasion of Schenker's 50th birthday, but agrees to let him see it.
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OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924
Weisse apologizes for not writing sooner, saying that he will return to Vienna by
the middle of the following week.
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OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924
Klenau sends a letter he has received from Heinrich Rickert, and thanks
Schenker for a discussion earlier the same day.
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OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21,
1924
Siegfried Fritz Müller has met with resistence in rural Switzerland to
Schenker's ideas. -- He describes his daily working practices. -- He plans to return to
Schenker for lessons in Spring 1925 and lists the works in his prepared
programs.
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OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924
Klenau sends a letter he has received from Felix Weingartner and his own
response.
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DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
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OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924
Bamberger writes of his pleasure at working in a theater, and his liking of
Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and
has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and
is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker
pupils.
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OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924
Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to
Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing
scarce, he has raised his fees, as a result of which several have left; but he has also gained
some new ones.
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OJ 14/45, [35] Handwritten draft letter to Max Temming, in Schenker’s hand, dated October 10, 1924,
sent to Moriz Violin
In this draft letter to Max Temming, Schenker expresses his thanks for the
industrialist's financial support for the dissemination of Der Tonwille to university music
departments.
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OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924
After thanking Violin for his touching fiftieth-birthday tribute of 1918,
Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which
Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate
more on the dissemination of Der Tonwille, with a new publisher.
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OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
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OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924
In the process of arranging for copies of Der Tonwille to be distributed, Violin
discovers that a pupil of his paid twice as much for one issue as the marked price in Austria.
He has made some inquiries into this matter, and asks Schenker what an issue currently costs in
Austria. There are no respectable music institutions in Hamburg, so Violin will distribute
copies there personally.
-
OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924
Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He
has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with
UE. He reports on Buxbaum and Pollak, and also Blüthner.
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OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924
Schenker names ten universities that should receive complimentary copies of Der
Tonwille, explaining that university music departments (Seminare) are more suitable recipients
than conservatories and other types of music schools. With 1924 coming to an end, he will resign
from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The
latter have agreed to publish his study of Beethoven's Sonata Op. 106
-
OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924
Weisse acknowledges Schenker’s recent letter, wants to speak with him face to
face about a number of things but uses this letter to defend his "hypersensitivity" towards
Schenker as stemming from the love and honor that he bestows on him.
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OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924
Schenker has received a photographic reproduction of the opening chorus of Bach's
St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming
Hertzka for being slow to send work to the engraver, and has written to him with a request to
dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and
recounts a long story about his piano dealer, Bernhard Kohn.
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OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
-
OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924
Schenker sends Violin Jeanette's handwritten copy of the essay Violin had
composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. —
Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a
Munich publisher.
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OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17,
1924
Altmann asks Schenker to send the balance of the charge for the Bach St
Matthew Passion parts.
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OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated
November 27, 1924
Having had soundings from Otto Vrieslander about taking over the publishing of
Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an
agreement with Universal Edition about the the future of the publication.
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UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker,
dated December 3, 1924
Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch
for the stipends be honored.
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OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924
Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal
Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the
new venture.
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OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
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OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924
This somewhat cryptic letter, possibly relating to a subscription order for Der
Tonwille, was sent with an enclosure that required some interpretation or action on the part of
Schenker. Violin also reports that the music department at the University of Berlin has
received, with gratitude, the copies of Der Tonwille.
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OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December
13, 1924
Marx has submitted the form of award of the Sophie Deutsch stipends to the
Ministry of Education.
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OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925
Baumgarten expresses his concerns about Schenker’s negotiations with a new
publisher, and cautiously advises that his client might instead wish to reach a peaceful
agreement with Universal Edition.
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OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925
Violin reports on a successful concert in which he performed both as a soloist
and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy
of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such
good music. He is going to see Max Temming, and has received four courteous letters of
acknowledgement from university music departments for copies of Der Tonwille.
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OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January
20, 1925
Drei Masken Verlag offer to publish Schenker's future work as a yearbook,
entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages).
The manuscript would need to be delivered in July in order for the book to be published in time
for Christmas.
-
OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925
Cube has had to extend his holiday to take care of his father, who has been forced to abandon his
second marriage under pressure from his firm.
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OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
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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.
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OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.
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OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925
Violin lends Schenker the letters sent by university music departments
acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were
cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he
hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with
his new publisher, Drei Masken Verlag.
-
OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
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OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3,
1925
Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker
will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold,
whether hardback or paperback. They offer an advance of 500 marks against expected sales at the
time of publication (early November), and can give him half that sum upon receipt of his
manuscript at the end of June.
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OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
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OC 54/20-22 Draft of a letter from Schenker to Drei Masken Verlag, dated February 7,
1925
Schenker agrees to the terms of a contract outlined by Drei Masken Verlag. He
requests that Fraktur typeface be used in the printing of his Yearbook, and he also needs to
know the likely dimensions of the book (in words per page) so that he can plan its contents
accordingly. He ends with a diatribe against Emil Hertzka at Universal
Edition.
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OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925
A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for
Meisterwerk.
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OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13,
1925
Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for
clarity regarding dealings with Drei Masken-Verlag.
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OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
-
OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19,
1925
Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken
out.
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OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925
Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a
contract for the Meisterwerk Yearbooks.
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OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
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OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23,
1925
As a follow-up to his previous letter, Bamberger gives a full account of the
number of subscriptions to Der Tonwille that he has either instigated himself or encouraged
others to take on.
-
UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated
February 23, 1925
The Akademie is instructed to draw up an endowment letter concerning the
Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must
determine how adjudication should be conducted after his death.
-
OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
-
OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925
Hammer describes his travels and work in the past eight months, and compares the
piano playing of Otto Vrieslander with that of Schenker.
-
OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3,
1925
Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's
Yearbook, but only with the approval of Hertzka at Universal Edition.
-
OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925
Bamberger seeks Schenker's advice on the choice of works for a series of
Sunday morning concerts that is included in his new contract with Danzig.
-
OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925
Violin sends Schenker receipts for the purchase of Der
Tonwille.
-
JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
-
OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925
The St. Matthew Passion parts may be retained until mid-July; Altmann is
pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in
Galtür next summer.
-
OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925
Miss Komorn tries to arrange a meeting with Furtwangler.
-
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.
-
OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925
Halm explains why he has not written before and reports successful performance
of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag;
reports events at Freie Schulgemeinde.
-
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 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]
Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers
to visit. — Hindenburg's election as German President has given a "jolt" to Europe and
pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will
be able to lift Germany out of mediocrity.
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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 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
-
OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925
Dealing at the same time with a family matter, Violin sends Schenker the
receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the
money for this was sent to the Leipzig office of Universal Edition. He is not planning any
summer holiday this year.
-
OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925
Hoboken wishes to become a pupil of Schenker; he has studied Schenker's
theoretical works under Vrieslander, and describes his progress so far; outlines previous
education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer
and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas
he wishes to study with Schenker; if accepted, he would take up residence in
Vienna.
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OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925
Schenker thanks Violin for his latest efforts to account for subscriptions to Der
Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred
Rothberger.
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OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925
Violin thanks Schenker for sending him the small version of the medallion
designed by Alfred Rothberger. He does not want to give an account of the difficult times he
is facing, expecting that things will eventually turn out for the better. He returns some
money, left over from the purchase of copies of Tonwille 10, which Schenker had previously
sent him.
-
OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925
Acknowledges Schenker's communication; is pleased to become a pupil of Schenker;
accepts fee and agrees to three lessons per week.
-
OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925
Violin has received letters from the music departments of two German
universities, which show that the tenth issue of Der Tonwille (published in January 1925)
was not received until June 10.
-
OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925
Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger]
medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."
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OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24,
1925
Moriz Schenker tells his brother that he will ask his friend Sobotka to
intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken
Verlag
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OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
-
OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925
Moriz Schenker has seen his friend Sobotka, who will arrange for the advance
from Drei Masken Verlag to be paid into his account.
-
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 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
-
OJ 11/36, [18] Handwritten letter from Hammer to Schenker, dated August 18, 1925
Hammer enloses a first pull of the mezzotint of Schenker, but expresses
dissatisfaction with it. Gives his itinerary.
-
JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]
Heinrich and Jeanette consider the test proof of the Schenker mezzotint
finished and urge him to finalize it. Heinrich tells Hammer about Anthony van
Hoboken.
-
OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925
Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a
pessimistic picture of the world in general, embracing the injustices that his friend must
also suffer.
-
OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1,
1925
In response to Schenker's request for proofs for the first Meisterwerk Yearbook,
Drei Masken Verlag explain that they have not yet decided on a printing house. They advise
Schenker to submit his next manuscript earlier in the year, on account of the complexity of the
work.
-
OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925
Hammer explains why he can't just take the test print of his Schenker
mezzotint as the final product. -- He speaks of money difficulties.
-
OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925
Finding himself adversely affected by the current financial crisis, Gustav von
Cube asks Schenker to help find work for his son Felix, to help help him finance his
studies.
-
JOB 94-3, [13] Handwritten letter from Schenker to Hammer, dated September 8, 1925
Heinrich discusses the drawing from which the Schenker mezzotint was made, and
its prospects for sale. The Keilgasse house is undergoing deep cleaning.
-
JOB 94-3, [14] Handwritten letter from Schenker to Hammer, dated September 9, 1925
Schenker informs Hammer that the drawing from which the Schenker mezzotint was
made has been sold.
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OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925
Hammer is working on the plate of the Schenker mezzotint.
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OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925
Schenker explains to Cube's father why his first teaching assignment went awry, but promises to
continue to help him; he suggests Anthony van Hoboken may be able to assist him.
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OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16,
1925
Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk
Yearbook has not yet been found, owing to the high costs of this work, and that first proofs
will not be ready for another two weeks.
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OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27,
1925
Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a
Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on
Hupka's progress in Cologne, and inquires after F.E. von Cube.
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OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
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OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3,
1925
Altmann asks Schenker to send his [Hammer] portrait to the editor of Die
Musik.
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JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5,
1925
Schenker informs Hammer that he has recommended Otto Vrieslander as the author
of a short article about him to accompany the Hammer mezzotint for publication in the
journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for
Schenker and himself, and detailing arrangements for payment.
-
OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5,
1925
Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker
unreservedly for all she has learned.
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OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925
Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will
convey to Schenker a print from which the printing block of the mezzotint can be made for
Die Musik's purposes. -- The Albertina has just purchased one of the
proofs.
-
OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925
Weisse asks Schenker to look at some suitable frames for Hammer's portrait of
him. He reports that several autograph manuscripts of Brahms are being put up for sale, of
which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly
interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest
theoretical concepts are being taught at Damrosch's music school in New
York.
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JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11,
1925
Schenker reports that the tube [containing a print of the mezzotint portrait
of him, for making a printing block] has been sent to the publisher [of Die Musik], and he
now waits to see whether the latter will commission an article to accompany it. He comments
on the Albertina's purchase of a print of the portrait.
-
OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925
Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on
October 15.
-
FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925
Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing
gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The
Creation, and thinks that it might be worth looking up Zelter's work in connection with
Schenker's forthcoming study of the same work.
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OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16,
1925
Expressing his distress at the delays, Schenker expresses his hope that the
first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it
should still bear the date of 1925.
-
FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925
Weisse has found Zelter's review of Haydn's Creation and has copied out the
section concerned with "The Representation of Chaos." He finds nothing of value in the
review, but says it must have pleased Haydn because it shows that the composer was entirely
conscious of how he went about writing the work.
-
WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925
Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming
Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack.
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OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October
21, 1925
Schmidt reports the response from the Federal Ministry of
Education.
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OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925
Informing Schenker that he is beginning to recover after a disastrous year,
Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the
cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started
school, which he also regards as a blessing.
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OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high
cost of living, and his inability to raise his fees to keep up with it (in particular, he
feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on
sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his
portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original
drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the
portrait, and things are now going well with the corrections to Meisterwerk 1 and the
writing of Meisterwerk 2.
-
UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated
October 30, 1925
Schenker determines how the Sofie Deutsch stipend should be adjudicated after
his death.
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OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Munich have now transferred all matters of production
concerning Meisterwerk I to their office in Vienna.
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OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the
printing house for Yearbook I; they ask Schenker for the precise wording of the title of the
book, and issue instructions for dealing with the galley-proofs.
-
OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925
Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior
knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which
refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of
removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven
manuscript at Heck's.
-
WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925
Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat
on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript.
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OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18,
1925
New stamps for the printing of Schenker's careted numbers must be ordered before
the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by
a few days.
-
OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21,
1925
The printing-house has just received the stamps with the special characters
needed to set the first Yearbook, and the proofs will be ready in a few days.
-
OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925
Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer
books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing
Deutsch's collection of Schubert first editions.
-
OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28,
1925
The text of Yearbook I has been set, but the music examples will require more
time.
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OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
-
OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925
Schnabel divulges only some details of his publisher's contract.
-
OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9,
1925
Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They
note that he has made a large number of corrections to the proofs, and warn him that, though
they can be incorporated in the final text, he will have to bear the expense if they exceed 10%
of the overall printing costs.
-
OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
-
OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926
Van Hoboken sends New Year greetings; reports that he is to see in the Paris
Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which
Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson
on January 9.
-
OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926
Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes
Becker, as a pupil for the remainder of the teaching year.
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OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14,
1926
Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.
-
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
-
OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
-
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
January 16, 1926
The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a
facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris
printing-house.
-
OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21,
1926
Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and
explain that, owing to the complexity of the publication, it will take time to complete the
corrections to the text and the music examples.
-
OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25,
1926
Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk
Yearbook, together with a separate printout of the music examples.
-
OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926
The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an
announcement about the Meisterwerk Yearbooks to their Munich office. They explain that
difficulties in printing the music examples have delayed the production of Yearbook
1.
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OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
February 5, 1926
Drei Masken Verlag invite Schenker to write a short announcement about the
Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of
publication.
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OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926
Invitation to join the Conference Committee of the Beethoven Centennial
Celebration 1927.
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OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
-
OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926
Violin, in the aftermath of two enormously successful trio concerts with
Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the
difficulty this causes in rehearsals and more generally for the ensemble. His doctor has
recommended that he spends three weeks in Bad Gastein this summer. He has not yet received
Hammer's portrait of Schenker.
-
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.
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OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926
Drei Masken Verlag reprimands Schenker for introducing so many changes to the
music examples, and ask him to consider whether he wishes to bear the additional cost of
reingraving the music example plates.
-
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 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926
Drei Masken Verlag report a short delay in the production of the first
Meisterwerk Yearbook.
-
OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926
Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk
1, and announce that they have now completed the revision of the volume.
-
OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926
Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.
-
OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926
Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their
children and nanny have contracted flu.
-
OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926
Dohrn inquires as to the performance of the opening of the second movement of
Beethoven's Ninth Symphony.
-
OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926
Schenker answers Dohrn's inquiry as to the performance of the opening of the
second movement of Beethoven's Ninth Symphony.
-
WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926
Schenker encloses an order from Bauer and asks for it to be fulfilled.
-
OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926
Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for
afternoon tea.
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OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926
Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been
sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music
examples will appear as an unbound supplement at the end of the book, agree to correct two
errors in the typesetting, and confirm the appearance of the cover.
-
OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926
Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to
ensure that the title-page and the list of printing errors are correct. They also ask about the
binding of the separate pages of musical illustration, and the notice about his earlier
publications.
-
OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926
Albersheim asks Schenker to take him on as pupil.
-
OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926
Drei Masken Verlag are sending Schenker the proofs for the first gathering of
his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room
for a special notice about the new series, but they will include the contents of the ten
issues of Der Tonwille.
-
OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926
Drei Masken Verlag alert Schenker to the printing error in the proof of
the advertisement page, which was to be included in the first Meisterwerk volume, and ask that
he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured
lettering for the title.
-
OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926
A further mistake has been found in the text of the first Meisterwerk
Yearbook, and Schenker is asked to confirm the correction by return of
post.
-
OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926
Dahms reports plans, with a young Munich publisher, to launch a popular music
"almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. —
He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has
had surgery.
-
OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926
Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson.
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OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926
The binding of the first Meisterwerk Yearbook has been transferred to another
firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the
agreed price. Schenker is asked not to press for an early release of the book, before the
bindings have had a chance to dry thoroughly.
-
OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926
Violin thanks Schenker for his recent postcard, gives a brief account of his
own illnesses, and gives a somewhat longer account of those of his son Karl, which will
complicate summer travel plans. He has learned from music shops in Hamburg that the
Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's
Beethoven sonata edition is no longer available; he asks Schenker if this is
true.
-
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
-
OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926
Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in
der Musik, vol. 2.
-
OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926
Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of
the first Meisterwerk Yearbook, although he may contractually be entitled only to five
hard-bound and five paper-bound copies. They ask him to send the addresses to which review
copies may be sent. (Schenker has made some pencil notes about the receipients of the
complimentary copies.)
-
OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926
Bamberger has introduced pianist Stefan Askenase to Schenker's
Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the
Schenkers in Galtür.
-
OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent
him.
-
OC 54/86 Handwritten Note from DMV to Schenker, dated June 17, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies he had recently received from
them.
-
OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17,
1926
Birthday greetings.
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OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926
Drei Masken Verlag inform Schenker that the distribution of the first
Meisterwerk volume will be delayed until their Munich branch have announced the retail
price.
-
OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926
Drei Masken Verlag will arrange to have the remainder of the advance for the
first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because
the corrections he made exceed 10% of the printing costs. They are also reserving judgment
on the publication of the second Yearbook until they see some sales figures for the first.
(Pencil annotations to the letter indicate Schenker’s displeasure at this
news.)
-
OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926
Drei Masken Verlag in Vienna report having paid the remainder of the advance
for the first Meisterwerk Yearbook into Schenker’s account.
-
OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926
In response to Schenker’s query regarding advance payments for Das Meisterwerk
in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions
only to offer the remainder of the advance on the first Yearbook, and that no decision has
yet been made with regard to the second.
-
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24,
1926
In response to Drei Masken Verlag’s delay in initiating production of the
second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of
paragraph 8 of the contract between them for not informing him the previous summer. He
threatens them with legal action if he has not had a reply within a week, or if they insist
on delaying production.
-
OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926
Treuga Bank confirm that the General Director has read through the contract
and letters regarding payment for the first Meisterwerk volume. He will send a report as
soon as he has discussed the matter with the Consul General.
-
OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926
Dahms thanks Schenker for his report [on the viability of the almanach
proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker
might contribute something new, or grant permission to reprint some of what he has written
in Der Tonwille.
-
OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early
July, 1926
Dahms's almanach plans have failed. — Germany has shown its gratitude for his
work by denying him a divorce [from Agnes] for 15 years.
-
OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926
Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before
a decision is reached about proceeding with production of the second Meisterwerk
Yearbook.
-
OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13,
1926
Replying to Schenker's postcard of July 8 and the receipt of the first
Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and
remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which
Schenker would find interesting. There is no news concerning his piano trio (with Mauritz
van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27
season.
-
OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926
UE have mailed Schenker's statement of account to Galtür.
-
OC 54/96-99 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand
with corrections in Heinrich Schenker’s hand, dated July 14, 1926
Schenker agrees to a delay to the start of production of the second
Meisterwerk volume, but insists that it continue to be understood as a “Yearbook,” i.e. as
part of a series of publications and not as an individual book, and that it bear the year
1926.
-
OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926
Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the
Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of
under-dominant.
-
OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926
Cube is having difficulty getting his father to pay Schenker for lessons given over the previous
year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf
artistic circles.
-
OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926
Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three
months of lessons with him. He does not teach without being paid, explaining that this would be
self-degrading – in his case all the more so, as he lives frugally and teaches only much as is
necessary to afford to pursue his own research.
-
OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
-
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his
wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and
reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and
he are considering founding a music journal, and wish to discuss the idea with Schenker.
-
OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926
Responding to Schenker’s demand for final payment for his son’s lessons, Gustav
von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder
to Vienna.
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OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
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OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926
Violin reports that he had to cut short his holiday in Bad Gastein because his
son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and
this sum must be paid by the end of the year.
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OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926
Schenker conveys his personal grief over the serious illness of Violin's son
Karl. He philosophizes about the ills of the world, noting financial difficulties recently
faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure
for San Francisco.
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OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]
Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by
Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes
him.
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OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926
Violin reports that his son Karl's health has improved, but that he has to
find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of
the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has
appeared in the Hamburger Fremdenblatt.
-
WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926
Schenker thanks UE for the advertisement in Die Musik, and asks if they can
obtain a review in Rivista musicale italiana.
-
OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12,
1926
Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of
publicity for the first Meisterwerk Yearbook to their Munich office.
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OC 54/102 Draft of a letter from Schenker to Drei Masken Verlag (Munich), dated October 14,
1926
Schenker reminds the publishers that they were expected to reach a decision –
which he is expecting to be positive – regarding the production of the second Meisterwerk
Yearbook.
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OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
October 15, 1926
Drei Masken Verlag think that an advertisement for the first Meisterwerk
Yearbook in the December 1926 issue of Die Musik would be timely; they also report that
sales of the book have been slow.
-
OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
-
OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926
Rothe encloses review from Rivista musicale italiana.
-
WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926
Schenker returns the review in Rivista musicale italiana.
-
OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]
In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first
draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently
from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable
with material property; the music of today is quite different from that of the past, the rules
of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to
speak his own mind.
-
OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
-
OC 54/105-106 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand,
dated November 18, 1926
Schenker reminds the publishers once again that they owe him a decision about
starting production of the second Meisterwerk Yearbook; although they have complained about
poor sales, they have done nothing to publicize the book, which would otherwise be unknown
to his adherents in foreign countries.
-
OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926
Cube asks for a letter of recommendation to be sent to the Provincial School
Council.
-
OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926
Drei Masken Verlag are not at liberty to make a direct approach to a
retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and
that the appeal to his readers is personally composed; they will offer Gutmann a reduction
in the cost of copies ordered or sold by the firm.
-
OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11,
1926
Although he is confident that Drei Masken Verlag is not bound to publishing
Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new
financial agreement so that production can take place.
-
OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926
Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends
Christmas greetings.
-
OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926
Drei Masken Verlag inform Schenker that a glowing review of the first
Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.
-
UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17,
1926
Schenker inquires whether interest on the capital will be available for him to
award the Sofie Deutsch stipend in 1927.
-
OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926
Schenker expresses his delight that his friend received sufficient financial
help to be able to move into a new apartment for the sake of his son Karl's health. He
reports having shown Agnes Becker some straightforward examples of the Urlinie, out of
desperation (she shows little aptitude for piano playing), and then explains that a great
deal of time, patience and faith are needed to understand such things. Of his current
pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of
following the ramifications of the new theory, which he sees as his unique gift to the
world. At present, he is working on his "crowning work," Free Composition.
-
OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated
December 21, 1926
The accumulated interest is available for distribution for the Sofie Deutsch
stipend.
-
OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926
Payments for Beethoven sonatas and Der Tonwille have been transferred.
-
WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30,
1926
Schenker requests continuation of half-yearly statements for the Musikalische
Theorien und Phantasien.
-
OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926
Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from
Conservatory in New Year; sends New Year's greetings.
-
UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31,
1926
Schenker asks the amount of interest that will be available for the Sofie
Deutsch stipends in 1927.
-
OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
-
UMdK Z 767 D/1927, [1] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to Willy
Elmayr-Vestenbrugg (with reply), dated January 3, 1927
Waizmann inquires as to the interest on the Sofie Deutsch stipend, and Elmayer
replies.
-
OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927
Encloses Schenker's royalty statement for the second half of 1926.
-
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
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OC 54/113-115 Handwritten notes by Schenker for material sent to Otto Erich Deutsch in January
1927.
These notes form the basis of a letter from Schenker to Otto Erich Deutsch
that gives details of his difficulties with his present publisher (Drei Masken Verlag), and
provides a list of the extracts from the correspondence with DMV, which Jeanette Schenker
has copied out to assist Deutsch in renegotiating a contract to publish Schenker’s second
Meisterwerk Yearbook.
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OC 54/116 Typewritten draft of two letters to Drei Masken Verlag, dated January 8 and 10,
1927
This document contains drafts of two alternative letters to Drei Masken
Verlag, one asking them to return the manuscript of the second Meisterwerk Yearbook and
threatening legal action for financial damage, the other authorizing Otto Erich Deutsch as
representative of a group of students who will offer financial support to make it
financially easier for the publishers to bring out the Yearbook.
-
UMdK Z 767 D/1927, [2] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to
Schenker, dated January 11, 1927
Waizmann reports the amount of the interest on the Sophie Deutsch
stipend.
-
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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OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17,
1927
Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under
terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250
marks.
-
OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18,
1927
Drei Masken Verlag inform Schenker that they have sent the manuscript of his
second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive
the galley-proofs.
-
OC 54/121 Typed letter from Waldheim Eberle A. G. to Schenker, dated January 18,
1927
Waldheim-Eberle report – with regret – that they did not get the contract to
engrave the second volume of Das Meisterwerk in der Musik.
-
OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927
Vrieslander has received the Urlinie graphs for two essays in the second
Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in
preparing them for publication.
-
OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927
Acknowledges Schenker's reply and corrections. There will be no problem with his
teacher's examination in May. Reports on recent activities.
-
OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27,
1927
Drei Masken Verlag have enclosed a page of music examples and a letter from
the printers. They request a response as soon as possible.
-
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.
-
OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927
Invitation to give a lecture to the conference associated with the Beethoven
Centennial Celebration [March 1927].
-
OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to
Schenker, dated February 3, 1927
Schenker is asked to give the Federal Ministry of Education his opinion as to
how the Sofie Deutsch stipends should be adjudicated after his death.
-
OJ 5/3, [1] Handwritten draft letter from Schenker to Adler, dated February 7, 1927
Schenker declines invitation to give lecture.
-
OJ 5/4, [3] Draft letter from Schenker to the Akademie für Musik, dated February 7,
1927
Schenker repeats his intentions for the adjudication of the Sofie Deutsch
stipends after his death.
-
OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927
Cube reports on his careers as critic and teacher.
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OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart’s
Symphony in G minor with the utmost care, with due regard to his
instructions.
-
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.
-
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15,
1927
Following Einstein’s determination to have the Urlinie graphs engraved, not
hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the
large slurs, and suggests a meeting with the engraver to go over further problems. If the
graphs were relegated to an appendix, they could be as wide as necessary, for sake of
clarity.
-
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.
-
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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OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927
Vrieslander, at pains to ensure that the music illustrations in the second
Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are
having difficulty interpreting Schenker’s music examples. He is putting his own work to one
side in order to work exclusively on creating clear and elegant graphs; he proposes to come
to Vienna in mid-March to go through all his work with Schenker.
-
OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927
Heck informs Schenker of a Beethoven manuscript in his hands.
-
OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker,
dated February 23, 1927
Trentini invites Schenker to contribute to Der Kunstwart.
-
OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927
Following a brief description of a recent illness, Violin replies to
Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and
Science and advises him to accept it. He realizes that staying in Hamburg would be bad for
his son's long-term health and has spoken to Artur Schnabel about the possibility of moving
to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau;
Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in
support of his application for a post there.
-
OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927
Drei Masken Verlag inform Schenker that there is a delay with the production
of the music examples for the second Meisterwerk yearbook. They anticipate that he will
receive the proofs soon.
-
OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927
Heck has sent the sketchleaves for photographic reproduction.
-
OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28,
1927
Schenker explains to Deutsch why he does not want to be considered for
an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their
kind intention to put his name forward.
-
OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927
Violin thanks Schenker for his willingness to intervene on his behalf with
regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before
a possible meeting in person at Easter.
-
OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927
Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op.
15, No. 2, and ask him to correct and return it.
-
OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927
Heck asks Schenker to proof read the galleys of an article.
-
OJ 10/3, [56] Typewritten letter from Deutsch to Schenker, dated March 7, 1927
Deutsch is touched by Schenker’s letter explaining why he doesn’t wish to be
considered for an honor (from the Austrian Republic), and will send Karl Kobald a summary of
its main points.
-
OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927
Heck asks Schenker to identify a Beethoven sketchleaf.
-
OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927
Heck thanks Schenker for information supplied, and will send a
photograph.
-
OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927
Deutsch returns part of the proofs of the second Meisterwerk Yearbook and
provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on
“The Representation of Chaos.”
-
OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927
In response to queries about the typography in the second Meisterwerk
Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections
indicated, so that they can investigate the specific problems.
-
OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]
Klenau agrees to approach his brother-in-law to help Moriz Violin. — He
responds to a comment by Schenker about Albert Schweizer.
-
OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927
In reply to Schenker's recent postcards, Violin maintains that Klenau's
support for his appointment in Frankfurt is important, as the Ministry of Education in
Berlin can exert only a limited amount of pressure on the Frankfurt circle.
-
OJ 9/3, [6] Typewritten letter from Guido Adler to Schenker, dated April 4, 1927
Schenker is asked to have his photograph taken as a collaborator in the
Beethoven Centennial Celebration.
-
OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927
Having received a letter from Schenker to Albert Trentini, Rinn welcomes the
prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a
title.
-
OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927
Heck sends a Beethoven sketchleaf and asks Schenker's opinion of
it.
-
OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927
His Almanach has been a success but produced no financial return in a hostile
environment. — They are leaving Berlin for the south; he has lost faith in German spirit,
intellect, and morality.
-
OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927
Violin thanks Schenker for his article (on Beethoven). He is still hoping for
a positive reply regarding Paul von Klenau's support for him in Frankfurt.
-
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
-
WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927
Having gained access to the facsimile of the "Appassionata" Sonata, Schenker
sends revisions to his edition.
-
OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927
Rothe acknowledges corrections to the "Appassionata" Sonata and promises
proofs.
-
OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927
Lacking an official state teaching certificate, Weisse asks Schenker for a
testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is
fully qualified to teach harmony, counterpoint, composition, and piano.
-
OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30,
1927
Drei Masken Verlag inform Schenker that they have forwarded the imprimatur
engravings to the printers, along with his query about Fig. 33.
-
OC 54/148 Typed letter from Mandruck to Schenker, dated May 3, 1927
Mandruck return the original sketches of Haydn's "Representation of Chaos" to
Schenker and inform him that they have prepared the stereotype in accordance with his
wishes.
-
OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10,
1927
Pietzner-Fayer extends the deadline for portrait photography to May
20.
-
OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927
Bamberger has been appointed second conductor at the Darmstadt operahouse. He
asks to visit Schenker in Vienna.
-
OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927
Kalmus notifies Schenker that proofs of the newly-revised "Appassionata"
Sonata are on their way.
-
OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927
Drei Masken Verlag notify Schenker that they will send him the missing galley
proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections
regarding the Mozart graph have been successfully processed.
-
OC 54/159 Typed letter from Mandruck to Schenker, dated May 16, 1927
Mandruck enclose the missing galley proofs for the second Meisterwerk volume,
and confirm that the requested changes have been successfully
executed.
-
WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927
Schenker returns proofs of the "Appassionata" Sonata.
-
OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927
Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs
for the second Meisterwerk volume, amended in accordance with Schenker's
wishes.
-
OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927
Drei Masken Verlag notify Schenker that they have enclosed a set of amended
proofs for the second Meisterwerk yearbook.
-
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in
Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted
there), but he is reluctant to press his contacts too far, as this may prove
counterproductive.
-
OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927
Cube reports on the state teaching examination, on which he was graded
"satisfactory," deploring the way it was conducted.
-
OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927
Drei Masken Verlag have enclosed the sample proofs of the first two gatherings
for Meisterwerk 2, and request that he responds to their query about the size and placement
of music examples as soon as possible.
-
WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927
Schenker returns final proofs of "Appassionata" Sonata with
imprimatur.
-
OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927
Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.
-
OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927
Violin still maintains that Paul von Klenau's petitioning on his behalf would
provide a strong measure of support for his application for a post in
Frankfurt.
-
OC 54/170 Typed postcard from Mandruck to Schenker, dated June 10, 1927
Mandruck have enclosed the first two gatherings of the second Meisterwerk
volume, amended in accordance with Schenker's wishes. They anticipate that he will receive
the remaining page proofs before the end of the month.
-
OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927
Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook,
along with the galley proofs. They request an explanation regarding Figure
75a.
-
OC 54/172 Handwritten note by the compositor at Mandruck, dated June 11, 1927
The compositor at Mandruck requests clarification about Figure 75a, which is
missing from their set of music examples for the second Meisterwerk
volume.
-
OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927
Mandruck have enclosed the page proofs for the second Meisterwerk volume, along
with a printout of the galley proofs and gatherings 5–6.
-
OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927
Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook,
and request Schenker's approval.
-
OC 54/176 Typed letter from Mandruck to Schenker, dated June 17, 1927
Mandruck enclose further page proofs for the second Meisterwerk
volume, along with the corresponding galley proofs.
-
OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927
In deepest admiration and gratitude, Violin sends Schenker (59th) birthday
greetings and pictures of his children.
-
OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927
Drei Masken Verlag confirm that Schenker's requests regarding the music
examples for the second Meisterwerk volume have been honoured, and inform him that he will
receive a complete copy of the proofs once the pagination has been completed.
-
OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927
Mandruck have enclosed further page proofs for the second Meisterwerk volume,
and request that he return the previous set as soon as possible.
-
OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927
Deutsch has received the second galley proofs to the second Meisterwerk
yearbook but did not read them as he did not have a source with which to compare them. He
will, however, assist Schenker correcting the page proofs, if necessary.
-
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
-
OJ 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927
Schenker gives Hoboken Furtwängler's summer address and urges him to contact the
latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's
Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee
at 50 schillings per lesson.
-
Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927
Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to
Furtwängler.
-
OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927
Mandruck enclose the remaining page proofs for the second Meisterwerk volume,
along with copies of the relevant music examples. They request guidance on the positioning
of the music examples.
-
DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
-
OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927
Deutsch tells Schenker that the second edition of Schindler’s Beethoven
biography is available, but not the first. --- He explains at length a misunderstanding over
the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal
Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph
manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram
Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports
on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and
expresses his regret that Drei Masken Verlag have been slow to prepare the second
Meisterwerk yearbook for publication.
-
OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927
Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in
Vienna.
-
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
-
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.
-
OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927
The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he
asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber
pupils normally attend for fewer lessons a month.
-
OJ 5/5, [1] Incomplete handwritten draft letter from Schenker to Josef Albersheim, dated August 12,
1927
Schenker articulates the reasons why Gerhard Albershim should continue his
lessons at the same frequency for another year.
-
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.
-
OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927
Violin reports that he was hoping to get away, but things came up that he had
to deal with, which made the summer the saddest of his life. His wife and son will move to
Vienna in the fall, and he will be there for Christmas.
-
PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
-
PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
-
OC 54/184 Typed letter from Mandruck to Schenker, dated August 17, 1927
Mandruck enclose a complete proof-copy of the second Meisterwerk volume, along
with the corresponding graphs, which will be placed in an appendix. They request that
Schenker return an imprimatur copy so they can begin printing.
-
OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927
Acknowledges "Appeal"; looks forward to working with
Schenker.
-
OJ 89/1, [3] Handwritten letter from Schenker to van Hoboken, dated August 20, 1927
Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. —
Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? —
Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the
"moderns"). — Reports visit by von Cube.
-
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.
-
OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
-
OJ 11/54, [17] Handwritten letter from van Hoboken to Schenker, dated September 6, 1927
Van Hoboken reports from Drei Masken Verlag that Vrieslander's text for the
Meisterwerk prospectus is overlength, and seeks Schenker's opinion.
-
OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927
Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what
is necessary for correctly reading an autograph manuscript and understanding its relationship to
the first edition, and rails against the tendency of performers, including Furtwängler, to think
such matters trivial.
-
OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927
Deutsch has the text of the prospectus for the second Meisterwerk yearbook
prepared by Otto Vrieslander, which the publishers say is too long and he thinks is
unnecessarily repetitious. He is forwarding it to Schenker for his opinion.
-
OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927
Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook
to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions
[for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.
-
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.
-
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.
-
OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in
photographing manuscripts in London and Paris.
-
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
-
OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927
Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at
Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises
Hoboken for his collection and service to mankind.
-
WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927
Schenker inquires after revised edition of Beethoven, Piano Sonata
Op.78.
-
OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927
Kalmus explains the situation over Beethoven Sonata Op. 78.
-
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk
Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal
of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the
Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No.
2.
-
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.
-
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses
pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie
studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker,
the prospectus for Meisterwerk I and II, and the call [for the
Photogrammarchiv].
-
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which
he regards as a milestone in offering the strongest statement of his theories. He is
accompanying a cellist in early January and will not be able to get to Vienna at Christmas
after all. His wife and son – who is now able to get up and around – are hoping to go to
Vienna at Easter.
-
OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken inquires whether the next day is a holiday or lesson day,
provisionally suggesting a discussion with Robert Haas.
-
OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken confirms meeting with Robert Haas.
-
OJ 71/19, [1] Typewritten letter from Alfred Kalmus (WPhV) to Otto Erich Deutsch, dated November
30, 1927
Kalmus thanks Deutsch for his recent help with a Schubert publication, then
reports that one of their editors mistakenly added changes to Schenker’s annotated copy of
the “Unfinished” Symphony which was to be used for the new edition. He apologizes for the
error, and is returning Schenker’s copy together with another copy of the score into which
Schenker’s original notations have been entered as accurately as possible.
-
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
-
OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2,
1927
Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony
van Hoboken's philanthropy; he is making progress as a conductor.
-
OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927
Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv,
and speaks of the task that lies ahead.
-
PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
-
OJ 5/4, [4] Handwritten draft letter from Schenker to Franz Schmidt (Akademie für Musik), dated
December 13, 1927
Schenker hands the Sofie Deutsch stipendia to the Akademie für Musik on the
grounds that the interest on the capital has diminished too greatly.
-
OJ 89/1, [8] Handwritten letter from Schenker to van Hoboken, dated December 17, 1927
Reply from Dr. Richtera has arrived, and Schenker encloses it; Otto Erich Deutsch
is invited to give a lecture about the damages. — Hoboken has had a letter from Alban Berg that
may be intentionally ironic; Schenker reflects on the spirit of the Photogrammarchiv.
-
OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927
Roth announces that UE has stitched stocks of Der Tonwille issues together to
form three year-volumes.
-
WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927
Schenker thanks UE for its promotion of Der Tonwille.
-
OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927
Miss Elias begs Schenker to accept her present of the Brahms piano
works.
-
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
-
OJ 89/1, [9] Handwritten double letter from Heinrich to Anthony van Hoboken and from Jeanette to
Annamarie van Hoboken, dated December 27, 1927
While commenting adversely on Křenek's opera "Jonny spielt auf," Heinrich sends
best wishes for the New Year and thanks for cactuses, acknowledges receipt of a check, and sends
greetings to Otto Vrieslander. — Jeanette thanks Annamarie van Hoboken for the Christmas
greetings and gift.
-
OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927
Announces that Schenker's 1927 royalty has been transferred.
-
OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927
Sending greetings for the New Year, Schenker expresses the hope that his
friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on
Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what
to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he
regards as a more skilled interpreter of his work, has announced plans for a monthly
journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which
will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse
might leave Vienna, to teach at Damrosch's music school.
-
OJ 89/2, [1] Handwritten letter from Schenker to Hoboken, dated January 4, 1928
Schenker sends a feuilleton by Hans Liebstöckl regarding the premiere of Krenek's
opera "Jonny spielt auf."
-
WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928
Schenker comments on the text of Deutsch’s forthcoming radio broadcast
about the Photogram Archive, noting in particular that the word “scientific”
(wissenschaftlich) has no place in the study of music, which is a unique art
form.
-
OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928
Cube reports progress in his class and private teaching, performance of his
compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate
Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."
-
OJ 12/6, [1] Handwritten letter from Jonas to Schenker, dated February 1, 1928
Jonas asks to meet with Schenker to discuss the "matter of the
periodical."
-
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers
to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly
periodical; thanks Cube for his efforts with book dealers in Duisburg and
Essen.
-
OJ 5/18, [G] Handwritten letter from Schenker to Jonas, dated February 14, 1928
Discusses plans to create of "journal," and conditions under which this might be
done.
-
OJ 10/3, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1,
1928
The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday,
March 7.
-
OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928
The Photogrammarchiv has a source that Schenker is at liberty to
consult.
-
OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928
Hanna asks Schenker to accept her apologies for not being able to visit them
on March 7, as Otto Erich has been invited to tea with the President of the
Republic..
-
OJ 12/6, [3] Handwritten letter from Jonas to Schenker, dated March 3, 1928
Discusses the proposal to create a "journal," raised in previous correspondence,
and airs Schenker's misgivings. Plans to send an invitation to 2,000 people.
-
OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928
The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports
that Hoboken has been unwell.
-
OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928
Hoboken recounts the difficulties he is having in getting 2,500 photographs of
autograph manuscripts made at the Paris Conservatory.
-
OJ 89/2, [2] Carbon copy of typed letter from attorney Hundt to counsellor Dr. Seidenberger, dated
March 12, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [3] Typed letter from Counsellor of Justice Seidenberger to Hoboken, dated March 13, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928
Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of
the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. —
He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's
birthday.— Furtwängler may come to Vienna permanently.
-
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
-
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
-
OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928
Cube describes difficulties with his colleagues, loss of pupils, and reactions to
his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items
requested; inquires after Weisse journal plan.
-
OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928
Encloses invoice for sending Der Tonwille to San Francisco.
-
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.
-
WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928
Responding to Deutsch’s previous message, Schenker confirms that the
Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also
agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an
arrangement of a work by a fashionable composer of the time.
-
OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928
Cube acknowledges receipt of the Hammer engravings and reports on the planned
Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his
student numbers.
-
OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928
Deutsch sends Schenker birthday greetings; he hopes that the last volume of
his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the
world.
-
OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928
Violin sends 60th birthday greetings to Schenker, adding that he is unlikely
to leave Hamburg this summer.
-
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.
-
PhA/Ar 56, [8] Handwritten letter from Schenker to Kromer, dated June 22, 1928
Schenker expresses thanks for the greetings telegram, and extolls the work of
the Photogrammarchiv.
-
WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928
Schenker thanks Deutsch for his birthday greetings, explaining that,
although he feels alienated from the musical world of the present day, he is
convinced that his work will have a lasting effect on future
generations.
-
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
-
OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928
Touched by Schenker’s response to his birthday greetings, Deutsch quotes a
passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia
Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize
for music.
-
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.
-
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
-
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
-
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
-
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
-
OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928
UE has written to the Postal Savings Bank about the royalty
payment.
-
OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928
UE understands that the royalty payment has now been made.
-
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
-
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
-
OJ 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5,
1928
Josef Albersheim has approved the continuation of his son's three lessons a
week; Gerhard looks forward to resumption.
-
OJ 10/3, [91] Typewritten letter from Deutsch to Schenker, dated September 16, 1928
Deutsch belatedly answers Schenker’s postcard greeting from the summer and
invites him to tea on Wednesday, September 19.
-
OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
-
OJ 10/3, [93] Typewritten letter from Deutsch to Schenker, dated September 29, 1928
Deutsch arranges to meet Schenker in [Hoboken’s] library on October
2.
-
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
-
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
-
OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
-
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
-
OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928
Dahms is unable to attend the Schubert conference in Vienna. — His latest
appeals on marital situation have been rejected.
-
OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928
Heck consults Schenker on another Beethoven sketchleaf.
-
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
-
OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928
Heck thanks Schenker for information regarding a Beethoven
sketchleaf.
-
OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928
Hertzka is away until mid-December.
-
WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte
1928]
Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to
give him certain information and regarding a supposed Beethoven portrait.
-
OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928
Rinn enthusiastically thanks Schenker for his intention to write an article,
and for arranging to have the necessary photographic reproductions
prepared.
-
OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928
Deutsch outlines plans for the publication of catalogues of music manuscripts
worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and
Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working
relationship with the director of music at Radio Wien (RAVAG).
-
PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
-
OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928
Weisse reports the birth of his (first) child, a girl. In a postscript, he
informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas
have been published in a modern edition.
-
OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
-
WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928
Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is
"convinced" that the autograph of Op. 106 is in England.
-
OJ 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928
On his first teaching-free day, Violin writes to say that his health is good,
and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write
to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain
the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has
prepared.
-
OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928
Announces that Schenker's 1928 royalty has been transferred.
-
WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929
Schenker sets deadline for decision on publishing "Eroica" monograph; stresses
urgency.
-
OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929
Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be
put off to the end of 1929.
-
OJ 13/25, [4] Typewritten letter from Rinn to Schenker, dated February 7, 1929
Rinn reports that publication of "Eine Rettung der klassischen Musik-Texte"
must be delayed because a copy of the faulty Peters edition of Schubert's Sonata (Op. 78, in
G major), which is the subject of Schenker's essay, cannot be found anywhere in Munich. He
asks Schenker to send him his own copy, so that it can be used for the reproduction of the
musical text. He also mentions the death of August Halm, and his intention of marking the
event in the same issue in which Schenker's article is now to appear.
-
OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929
Violin has heard terrible things from Vienna on account of the extremely cold
weather, and hope that the Schenkers are in good health. His brother-in-law will take him on
holiday at Easter, and also pay for a family holiday in the summer.
-
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
-
OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929
On the point of departing for the Riviera with his brother-in-law – possibly
via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction
of Bach's first Two-Part Invention, in C major.
-
OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929
Rinn apologizes for the small format in which the autograph of Schubert's
minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He
has publicized the work, and intends to send copies of it to university music departments
and inform other newspapers and journals of it. He expresses thanks for the efforts that
Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth
Symphony.
-
OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7,
1929
In reply to Violin's previous letter, Schenker writes out a graphic analysis
of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French
Riviera.
-
OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929
Violin thanks Schenker for his letter with the voice-leading sketch of Bach's
C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is
enjoying the climate of Nice, and seems to be getting on well with the French language; a
lady who overheard him playing the piano praised his expressive playing.
-
OJ 10/3, [98] Typewritten letter from Deutsch to Schenker, dated , March 22, 1929
Deutsch sends Schenker a newspaper clipping related to an idea of his
concerning the “League of Nations”.
-
OJ 13/25, [6] Typewritten letter from Rinn to Schenker, dated March 22, 1929
Rinn tells Schenker that Alfred Einstein has expressed an interest in
promoting Schenker's work on autograph manuscripts with a notice in the Berliner
Tageblatt.
-
OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his
fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous
lectures, and forthcoming lecture series.
-
OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
-
OJ 12/50, [1] Handwritten letter from Bernhard Martin to Schenker, dated March 27, 1929
Bernhard Martin sends Schenker an analytical sketch and a composition study,
for comment. He expresses his gratitude for all that he has learned from his lessons with
Schenker.
-
OJ 89/3, [1] Handwritten letter from Schenker to Hoboken, dated March 28, 1929
Schenker expresses surprise at Vrieslander's "deception" and approves Hoboken's
response to him.
-
OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929
Miss Edith Sauerbrey may call on Schenker.
-
OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
-
OJ 14/45, [78] Handwritten letter from Moriz Violin to Schenker, dated April 29, 1929
Violin has finally paid off a large debt, and promises to save enough money so
that he can spend a few days in Galtür with the Schenkers. He apologizes for any
indiscretion on the part of his sister Fanny.
-
OJ 10/3, [101] Typewritten letter from Deutsch to Schenker, dated May 8, 1929
Deutsch reports that his series of radio concerts with professors from the
Vienna Academy is in jeopardy, because of Max Ast’s lack of enthusiasm for them, and that
Leopold Richtera has also let him down.
-
OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929
Cube explores the possibility of a student of his, Erich Voss, studying with
Schenker.
-
OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929
Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers
to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz;
Voss to contact him.
-
OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929
Weisse reports that Gerhard Albersheim is going to see him about the
possibility of having lessons from him. He congratulates Schenker on completing his study of
the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the
next two weeks.
-
OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929
Deutsch gives Schenker a detailed, comprehensive account of how his royalties
on the sale of the third Meisterwerk yearbook are based.
-
OJ 12/50, [2] Handwritten letter from Bernhard Martin to Schenker, dated June 15, 1929
Bernhard Martin sends Schenker a "little treasure box" and wishes him and
Jeanette a recuperative vacation.
-
OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929
In spite of an earlier promise, Violin says he cannot visit the Schenkers in
Galtür because he must stay with his son, who has had an inflammation of his kidney
following the news of the death of Otto Schreier. He will instead take his son on a holiday
in the Harz Mountains, and hopes to visit Vienna in the autumn or over
Christmas.
-
WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929
Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives
his vacation address.
-
OC 52/850 Typed letter from Hertzka (UE) to Schenker, dated June 21, 1929
No decision on the "Eroica" monograph yet.
-
WSLB 410 Handwritten letter from Schenker to Hertzka (UE), dated June 28, 1929
Schenker will be patient until 1930.
-
OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929
Bernhard Martin is working on Schenker's graphings of the E-flat major piano
sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's
facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and
Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's
periodical articles.
-
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
-
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
-
OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7,
1929
Hoboken recounts recent travels. — Is now at Kliffende, where he is about to
build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles
from the latter. — Refers to a Vrieslander problem.
-
OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929
Schenker thanks Hoboken for the Harburger items and agrees to write to
Vrieslander.
-
OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929
Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on
composing and sends two sonatas for Schenker's comment.
-
OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
-
OC 52/916 Typed letter from Hugo Winter (UE) to Schenker, dated July 23, 1929
Schenker should have received the statement and money
meantime.
-
OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929
Encloses remarks made by Edmund Schmid.
-
WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929
Schenker comments on Schmid's remarks; inquires after editorship of Mozart
edition.
-
OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
-
OC 52/852 Typed letter from Ernst Roth (UE) to Schenker, dated July 30, 1929
Names the revisers of the Mozart sonata edition.
-
OJ 89/3, [6] Handwritten letter from Schenker to Hoboken, dated August 2, 1929
Schenker has passed the [fee] verdict on to Vrieslander; alludes to Reinhard
Oppel, and advises on the analysis of Brahms Op. 117, No. 1.
-
OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5,
1929
Encloses additional remarks by Edmund Schmid.
-
OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929
Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space")
tells of his plans to write about his teacher's significance as a contemporary theorist. He
describes his progress in composition, which includes the completion of a set of six bagatelles
for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie
Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his
and Hertha's joy in parenthood.
-
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
-
WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929
Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable
passage and comments wrily on a critical one.
-
OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
-
OJ 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929
In this long letter, Deutsch seeks to explain Vrieslander’s behavior with
regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to
account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds
to set up a journal linked to the Photogram Archive are not unlimited, but understands why
Schenker cannot devote as much of his own time to the project as Hoboken might expect. ---
He describes Hoboken as a childish character, with little understanding of the world of
ordinary people, who might nevertheless ultimately produce a good piece of
scholarship.
-
OJ 15/7, [1] Handwritten letter from Arthur Waldeck to Schenker, dated August 27, 1929
Introductory letter from Arthur Waldeck to Schenker.
-
OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929
Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over
the "Eroica" monograph.
-
OJ 11/54, [26] Typewritten letter from Hoboken to [Reinhard Oppel], dated August 30, 1929
Hoboken advises Oppel on ordering materials from the Photogrammarchiv for study
purposes. — He hopes to see him in Kiel in late September.
-
OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
-
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
-
OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
-
OJ 10/18, [4] Handwritten letter from Elias to Schenker, dated September 23, 1929
Miss Elias confirms her forthcoming lesson for October 1, and plans to finish
her voice-leading sketch of a fugue by Handel.
-
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.
-
OJ 10/3, [107] Typewritten letter from Deutsch to Schenker, dated October 1, 1929
Deutsch gives Schenker information and advice about a standing
lamp.
-
OJ 10/3, [108] Typewritten letter from Deutsch to Schenker, dated October 7, 1929
Deutsch gives a comprehensive analysis of the prospect of a publication
devoted to the Photogram Archive: its content, its editorship, the frequency of its
appearance, and the publishing houses who might be interested in taking it on.
-
OJ 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23,
1929
Vrieslander reports that Hoboken has given him notice to vacate, and rehearses
the course of events leading up to this situation, events that intertwine with Vrieslander's
obligations to the Photogrammarchiv.
-
OJ 89/3, [12] Handwritten letter from Schenker to Hoboken, dated October 24, 1929
Schenker forwards Vrieslander's letter.
-
OJ 12/50, [4] Handwritten letter from Bernhard Martin to Schenker, dated October 31,
1929
Bernhard Martin sends Schenker graphings of a Mendelssohn Lied ohne Worte and
a J. S. Bach Kleines Präludium. -- He describes the duplicated and missing pages in his
misbound copy of Schenker's Harmonielehre. -- He suggests a correction to Schenker's use of
the term "portamento." -- Having read Otto Vrieslander's biography of C. P. E. Bach, he
proposes to perform a cantata by the latter and describes the concert program in which it
will feature.
-
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
-
OJ 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929
Violin apologizes for not having written, but does not want to burden Schenker
with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and
also offers some thoughts of comfort on hearing the news that Schenker's brother and
sister-in-law have separated. He has little energy left, but is somehow able to muster it
when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He
promises to be in Vienna over Christmas.
-
OC 54/194 Typed letter from Drei Masken Verlag, dated November 20, 1929
Invitation to Leon Feuchtwanger's public reading entitled 'From unpublished
Works'.
-
OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
-
OJ 13/25, [7] Typewritten letter from Rinn to Schenker, dated December 2, 1929
Rinn sends Schenker the October and November 1929 issues of Der Kunstwart. In
contrast to his own journal, he describes the progressive Münchener Neueste Nachrichten (for
whom Wilhelm Hausenstein, Joseph Roth, and Felix Salten were writing) as belonging to "the
other side."
-
OJ 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929
Furtwängler asks to visit Schenker on December 19th.
-
OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and
January 1, 1929]
Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws
his attention to a Landshoff article and notice about the Andreas Bach
book.
-
OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
-
WSLB 418/1 Handwritten letter from Schenker to Hertzka (UE), undated [December 19,
1929]
Schenker recommends an essay by Gerhard Albersheim; raises possibility of
unchanged re-issue of Harmonielehre.
-
OC 52/857 Typed letter from Hertzka (UE) to Schenker, dated December 20, 1929
Hertzka is interested in the Albersheim essay; prospects for a re-edition of
Harmonielehre not good.
-
OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929
Schenker, expressing misgivings about the medical profession, nonetheless
hopes that Karl Violin's impending operation is successful. He is still awaiting news about
a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of
enquiry, and Hertzka (at Universal Edition) has not been cooperative.
-
WSLB 419 Handwritten letter from Schenker to Hertzka (UE), dated December 28, 1929
Reminder of Hertzka's promise to decide about the "Eroica"
monograph.
-
OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2,
1930]
In thanking Schenker for all that he has learned from him, Bernhard Martin
sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica
monograph."
-
OJ 13/25, [8] Typewritten letter from Rinn to Schenker, dated January 2, 1930
Rinn has sent Schenker copies of Der Kunstwart and will be in touch with him
about his next contribution, the extracts from the Masterwork yearbooks.
-
OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930
Offers New Year greetings; reports on his current mood, on the Conservatory, his private
teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on
compositional activity and reading.
-
OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930
Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of
the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's
plans to publish the analysis.
-
OC 52/860 Typewritten letter from Hertzka (UE) to Schenker, dated January 16, 1930
Hertzka sees no prospect of publishing the "Eroica" study as a
monograph.
-
OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930
Deutsch explains that, without a fixed annual budget, the Board of Trustees
[of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal
efficiently with the foreign contributors to the collection; a catalogue has still not been
prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the
directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as
her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been
exchanging letters with Vrieslander.
-
OJ 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930
Violin has learned that the proprietor of Rather-Verlag is unwell, and that
there would be no chance of Schenker's having his "Eroica" Symphony monograph published
there. He also reports on declining cultural and human values, of which the recent success
of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to
investigate possible employment there.
-
OJ 11/54, [27] Typewritten letter from Hoboken to Schenker, dated January 30, 1930
Hoboken is unwell and cannot go out.
-
FS 40/1, [1] Handwritten letter from Schenker to Salzer, dated February 8, 1930
The Schenkers accept Salzer's invitation to attend a performance of Weisse's
Octet.
-
OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930
Cost estimate of production costs for the third Meisterwerk
yearbook.
-
OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930
Schenker advises that an analysis of the score of Beethoven's Missa solemnis
should be taken at a slow pace.
-
OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930
Weisse has delayed in replying to Schenker's recent letter because he has been
corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna
Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the
small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn
so that he can send them personal invitations. His wife is about to give birth to a second
child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested
in hearing the Octet.
-
OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930
Vrieslander's article about Schenker for Der Kunstwart is too technical and
too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He
expresses enthusiasm for Schenker's idea of writing about the relationship of the great
German poets to music.
-
OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
-
OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21,
1930
After correction by Schenker, Albersheim has finalized an article on
Schenker's work, which he will submit to a journal. He will now prepare himself for the
state examinations.
-
OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
-
OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930
Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are
delighted to have been chosen as the printing house for the third Meisterwerk
volume.
-
OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
-
OC B/139 Typewritten letter from Alfred Einstein (ZfMw) to Schenker, dated March 28,
1930
Einstein returns to Schenker an article submitted by Gerhard Albersheim. -- He
acknowledges receipt of a correction from Schenker.
-
OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29,
1930
Hoboken questions Schenker's separation of "artist" from "person," and says
that he does not want to become an eternal student.
-
OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
-
OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930
Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is
related to the earlier of his two settings of the song. Although he is grateful for
Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from
the depths of the composition. -- In a postscript, Schenker complains that, in a recent
feuilleton, the music critic Julius Korngold has quoted his terminology (e.g.
Auskomponierung) but failed to mention his name.
-
OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930
Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch
to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had
misunderstood.
-
OJ 10/3, [125] Typewritten letter from Deutsch to Schenker, dated April 6, 1930
Deutsch has learned that Hoboken intends to keep his apartment in Vienna at
least until 1932; his departure from the city is therefore only temporary.
-
OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
-
Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
-
OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
-
OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
-
OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930
Straube informs Schenker that, owing to the acute slump in sales of musical
textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook
with both Breitkopf & Härtel and C. F. Peters.
-
OJ 13/25, [10] Typewritten letter from Rinn to Schenker, dated May 15, 1930
Rinn sends a copy of Vrieslander's article on Schenker, which will appear in
the next issue of Der Kunstwart. — He looks forward to receiving Schenker's essay on German
poets and music, and hopes that Schenker will consider writing some commentary-style pieces
for him.
-
OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930
Violin apologizes for not having written, but his family have moved to a more
affordable apartment and, around the same time, his wife was taken seriously ill with
appendicitis. Things are better now.
-
OJ 5/9, [3] Handwritten letter from Schenker to Deutsch, dated May 15, 1930
Discusses Beethoven's song "Neue Liebe, neues Leben" (Op. 75, No. 2). Dr. Rinn
will be inviting Deutsch to collaborate.
-
OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930]
After congratulating Violin on moving house, Schenker reports that an article
that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a
childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response;
in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself
replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für
Musik. Owing to overwork, he was required to rest during the day between lessons; now he is
better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there,
too.
-
OC 54/224 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 22,
1930
Drei Masken Verlag confirm that they are willing to embark on the publication
of the third Meisterwerk volume, and request further information about the print
run.
-
FS 40/1, [2] Handwritten letter from Schenker to Salzer, dated May 26, 1930
Schenker thanks Salzer for sending an offprint of an article of his, and
comments.
-
OC 54/225 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 27,
1930
Drei Masken Verlag will draw up an estimate for the production costs of the
third Meisterwerk volume following receipt of the manuscript.
-
OC 54/303 Handwritten letter from Deutsch to Schenker, dated May 30, 1930
Schenker is advised to visit the lithographer Karl Piller concerning the
preparation of his music examples and illustrations [for the Eroica monograph]. Deutsch will
write immediately to Drei Masken Verlag about the type of paper to be used.
-
OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
-
OC 54/226 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated June 2,
1930
Drei Masken Verlag advise Deutsch to contact Elbemühl A.G. concerning the
supply of paper for the third Meisterwerk volume.
-
OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930
Deutsch has discussed the printing of the music illustrations for Schenker’s
"Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete
his calligraphic work before Schenker leaves for Galtür.
-
OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
-
OJ 13/25, [11] Typewritten letter from Rinn to Schenker, dated June 13, 1930
Rinn hopes Schenker will soon finish his great work (i.e. Free Composition)
soon and devote himself to writing for Der Kunstwart.
-
OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
-
OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.
-
OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930
Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's
non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers).
Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of
financial difficulties; he has offered his services to the Hochschule für Musik in
Berlin.
-
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
-
OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930
Deutsch has been in touch with the production team and the publishers of the
third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the
book, including details of text printing, lithography and paper. -- In a postscript, he
offers to help with the proof corrections of the text.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930
50.66 shillings has been transferred.
-
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.
-
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.
-
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.
-
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.
-
OJ 71/20, [2] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated August 4, 1930
Pleased that Weisse is intent on promoting Schenker’s theoretical work,
Kestenberg invites Weisse to give a lecture at the Central Institute for Music Education and
Teaching, and offers his support for Weisse speaking at the Academy for Church and School Music
and the Conservatory [Hochschule für Musik] in Charlottenburg.
-
WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930
Replying to Deutsch’s letter of July 30, Schenker warmly recommends his
long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then
comments at length on a newspaper article by Richard Benz (of which Deutsch had sent
a clipping), using a medical metaphor to describe the current pathological state of
music.
-
OC 54/211 Handwritten letter from Georg Tomay to Schenker, dated August 13, 1930
Tomay encloses sepia prints of music examples for the third Meisterwerk
yearbook, and asks Schenker to check them thoroughly and mark up any final
corrections.
-
WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15,
[1930]
Schenker thanks Deutsch for his careful, helpful reading of the proofs
to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the
foreground graphs for the second movement of the "Eroica" Symphony to an apprentice;
these are full of mistakes and will have to be done again. But Tomay’s own work, on
the third and fourth movements, is excellent. -- In a postscript, he comments on his
entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk
yearbook in the Deutsche Tonkünstler-Zeitung.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930
Furtwängler wishes to visit Schenker in the Tyrol.
-
WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930
Schenker requests a meeting with Deutsch and Robert Haas. -- The
page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will
also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by
Hoboken, and discuss any outstanding matters between them then.
-
OC 54/214 Handwritten letter from Georg Tomay to Schenker, dated September 11, 1930
Tomay requests 200 shillings for payment to Jahoda, and notifies Schenker of the
outstanding fees for his work on the third Meisterwerk yearbook.
-
OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930
Deutsch asks Schenker to look carefully at two passages in the proofs of the
music examples to the third Meisterwerk yearbook and send them to him immediately. He also
wants Schenker to change the ending of the final item in the yearbook’s
“Miscellanea.”
-
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
-
OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930
Deutsch cannot see Schenker until Sunday, September 21, 1930.
-
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
-
OJ 5/18, 1 Handwritten letter from Schenker to Jonas, dated October 7, 1930
In a letter dictated to Jeanette because of eye trouble, but signed and dated by
Heinrich, Schenker tells Jonas that Vrieslander, Roth, and von Cube were unable to support
themselves in Munich and have moved elsewhere.
-
OC 54/237 Typewritten letter from Drei Masken Verlag to Schenker, dated October 8,
1930
Drei Masken Verlag say the printers cannot be held responsible for mistakes in
the page-proofs and layout of the third Meisterwerk yearbook that Schenker failed to note in
the galley-proofs. A new set of page-proofs will be issued, and the last section of the book
will be repaginated.
-
OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930
Deutsch explains to Schenker which proof corrections may be the author’s
responsibility, and which the printer’s or publisher’s, and advises him to write back to the
publisher but not to get unduly upset about these matters.
-
WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12,
1930
Schenker will follow all of Deutsch’s recent suggestions regarding the
page formatting of the third Meisterwerk yearbook, for which he is most grateful. --
He then launches a further attack upon Anthony van Hoboken’s
character.
-
OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930
Violin has just heard that Hans Weisse will be lecturing in Berlin in
December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to
London, has discovered that Schenker's Beethoven sonata edition is much in demand,
especially from students at the Royal Academy of Music.
-
WSLB 422 Handwritten letter from Schenker to UE, dated October 13, 1930
Schenker inquires as to the likely costs of an unrevised second edition of
Harmonielehre.
-
OC 54/238 Typewritten letter from Drei Masken Verlag to Schenker, dated October 14,
1930
Drei Masken Verlag confirms that the printers should not be held responsible
for changes that were not indicated in the galley proofs. They will send printouts of the
music examples and Urlinie pages in a few days; Schenker is asked to approve the way in
which they are bound and inserted into the yearbook.
-
OC 54/327 Handwritten letter from Deutsch to Schenker, dated October 15, 1930
Deutsch makes some late corrections to the proofs of the third Meisterwerk
yearbook. He also suggests mentioning the supplementary music illustrations and foreground
graphs in the table of contents.
-
OC 54/215 Handwritten letter from Georg Tomay to Schenker, dated October 17, 1930
Tomay asks whether Schenker has received any new proofs from the printing house, and
sends a gentle reminder concerning the outstanding fees.
-
WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October
17, 1930
Enclosing two recent letters from Drei Masken Verlag, Schenker asks
Deutsch’s advice on what further action to take, if any. His doctor has pronounced
him fit.
-
OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18,
1930
Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette
for news about him.
-
OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930
Deutsch suggests a way of placing the loose music illustrations and the bound
graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a
visit soon, perhaps on Friday, October 24.
-
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
-
OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch makes further suggestions about how the musical material for the
"Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit
into the third Meisterwerk yearbook. He also recommends fully paginating the
booklet.
-
OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch recommends three modifications to the layout of the supplements for
the third Meisterwerk yearbook.
-
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
-
OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4,
1930
Roth supplies the costing requested.
-
OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930
Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk
yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by
Leo Kestenberg.
-
PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930
Schenker offers Haas a line of inquiry for tracing Beethoven source
materials.
-
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
-
OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930
Jonas reports from Berlin on a lecture given shortly before in Munich to
introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin.
-
OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930
Rinn recommends an discussion in the Münchener Zeitung involving one of his
assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and
speaks of publishing a selection of "aphorisms" from the second and third
yearbooks.
-
OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930
Cube thinks attending Weisse's lectures would enable him to make contact with
"people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker
for the time and place, referring to the difficulties of travel in these "catastrophic times."
Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of
his compositions coming up.
-
OJ 5/18, 2 Handwritten letter from Schenker to Jonas, dated November 26, 1930
Having misread Jonas in OJ 12/6, [4] as requesting a letter of recommendation to
Furtwängler, Schenker declines to provide such a letter. Letters of thanks to Schenker from
other Berlin musicians have not led to more solid connections. Most musicians have not dared to
take a position publicly on Schenker's teaching.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OC 54/332 Handwritten letter from Deutsch to Schenker, dated November 26, 1930
Deutsch thinks that the invoice for the printing and production of the third
Meisterwerk yearbook is reasonable, and that Drei Masken Verlag had underestimated the costs
earlier in the summer. He advises on sellling price to ask for.
-
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 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930
Jonas regrets any misunderstanding over his request for "a few lines of
recommendation"; he had intended only to ask for "general lines," not recommendations to
individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his
devotion to Schenker's cause for fifteen years, stating what he considers to be the core of
Schenker's thought as he would publicly represent it.
-
OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930
Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces
of information.
-
OJ 5/18, [3a] Handwritten letter from Schenker to Jonas, dated December 2, 1930
Schenker asks Jonas to draft a recommendation for himself, and approves Jonas's
formulation of the core of his teaching.
-
OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930
Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler,
Klemperer and Kleiber. — He has decided to withdraw his planned financing of the
Photogramarchiv's collected edition of C. P. E. Bach.
-
OJ 12/6, [6] Handwritten letter from Jonas to Schenker, dated December 5, [1930]
Jonas thanks Schenker for OJ 5/18, [3a], outlines the contents of the general
letter of recommendation requested, and informs Schenker that the Edwin Fischer circle is very
interested is Schenker's work.
-
WSLB 424 Handwritten letter from Schenker to UE, dated December 8, 1930
Schenker requests that a full set of Tonwille issues be sent to Hermann
Rinn.
-
OJ 5/18, [3b] Handwritten letter from Schenker to Jonas, dated December 9, 1930
Letter of recommendation for Jonas.
-
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
-
OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930
Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news
of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss
the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that
review copies be sent out in January.
-
OC 52/867 Typewritten letter from Hugo Winter (UE) to Schenker, dated December 29,
1930
UE has transferred 1,250 shillings, and sends New Year's best
wishes.
-
OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931
Hoboken sends New Year's greetings and speaks of next lesson.
-
OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
-
OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931
Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He
is concerned that others may think that he had a part to play in Hoboken’s withdrawing his
financial support for a collected edition of C. P. E. Bach’s works.
-
OJ 12/9, [26] Handwritten letter from Karpath to Schenker, dated February 3, 1931
Karpath replies to a letter from Schenker showing himself to be in need of help.
— Karpath reports on contact with Robert Brünauer, who was seeking financial
support.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931
Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his
plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether
Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be
made.
-
OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13,
1931]
Schenker draws Preetorius's attention to part of Meisterwerk III, and
invites him to consider his (Schenker's) theory of coherence in music as a basis for
that in other arts, hence unity among the arts. -- He envisions a "club" of artists
to discuss these matters.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931
Weisse describes the extraordinary success of his second lecture (at the
Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic
interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of
Brahms's String Quartet in C minor, Op. 51, No. 2.
-
OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931
Deutsch has found the source of a letter, of interest to Schenker, which was
cited in a recent newspaper article by Richard Benz.
-
OJ 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931
Jonas sends three essays and asks for Schenker's comments.
-
WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931
Schenker asks Seligmann to read the opening essay in the third volume of Das
Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which
demonstrates the attention his theories have been gaining in Germany, especially Berlin, and
expresses his regret that no one in Vienna shows similar respect for him.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OJ 10/3, [143] Typewritten letter from Deutsch to Schenker, dated March 8, 1931
Distraught by the response to his letter of March 6, Deutsch explains the
efforts he has made on Schenker’s behalf and asks for further clarification about his
friend’s wishes.
-
OJ 12/50, [7] Handwritten letter from Bernhard Martin to Schenker, undated [1931?]
Bernhard Martin sends Schenker a circular sketch diagram of the opening of the
C minor fugue from WTC, Book I, which he has used in his class teaching. He has for two
years been developing from Schenker's publications proposals for music instruction in
schools, including counterpoint with practical exercises.
-
OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931
Violin says that things are in order [with the planned Schenker Institute in
Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the
month to consult his friend, whom he asks to say nothing about the matter to
Weisse.
-
OJ 5/18, 4 Handwritten letter from Schenker to Jonas, dated March 16, 1931
Schenker comments on the essays that Jonas has sent him, and the prospects for
publication.
-
OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
-
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
-
OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
-
OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931
Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction,
discussing the latter's character in so doing.
-
OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931
Following up a discussion with Schenker in the presence of Wilhelm
Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife
have been copying them and Jonas plans to write a Foreword to a new edition of these
writings.
-
OJ 5/18, 6 Handwritten letter from Schenker to Jonas, dated April 1, 1931
Schenker congratulates Jonas on his forthcoming publication; — responds to his
question about the discussion in Der Tonwille of a Bach fugue copied out by Beethoven; —
encloses calling card of Mozart.
-
OJ 15/22, [1] Handwritten letter from Willfort to Schenker, dated April 3, 1931
Willfort thanks Schenker for the card with quotation from Mozart
letter.
-
OJ 15/16, [73] Handwritten letter from Weisse to Schenker, dated April 7, 1931
Weisse continues to urge a cautious approach to Furtwängler with regard to
financial support for recent and forthcoming publications.
-
OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931
Kromer asks to meet with Schenker.
-
OJ 5/45, [6] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 13,
1931
In a letter of recommendation Schenker praises Weisse's creativity and
pedagogical skill, and declares him the best representative of his own theory.
-
WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931
Schenker explains some of the details of the conclusion he has written
for an unfinished, untexted Schubert song, D. 555.
-
OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931
Having heard that Weisse is leaving for America, Schenker asks if Violin has
had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who
would like to know the content of Der freie Satz.
-
OJ 15/16, [74] Handwritten letter from Weisse to Schenker, dated April 15, 1931
Weisse thanks Schenker for a letter of reference [for his teaching post at the
Mannes School of Music], and asks for some modifications. — He has not heard from
Furtwängler, whom he has also asked for a reference, and urges Schenker to be patient with
Furtwängler, too. — He is completing a set of three-voice piano pieces and wishes to
dedicate them to Schenker on the occasion of his leaving Vienna.
-
OJ 5/45, [7] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 15,
1931
In the second draft of a letter of recommendation Schenker praises Weisse's
creativity and pedagogical skill, his qualifications as a teacher of composition, and declares
him the best representative of his own theory.
-
OJ 12/6, [9] Handwritten letter from Jonas to Schenker, dated April 17, 1931
Acknowledges OJ 5/18, 6. Discusses plan for collected publication of Schenker's
essays and reviews. — Gives news of his own forthcoming publication.
-
OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931
Deutsch thanks Schenker for his completion of an untexted Schubert song. He
asks Schenker to help him to compare two versions of a set of variations. A deputation from
the Ministry of Education will pay a visit to Hoboken’s private library.
-
OJ 15/16, [75] Handwritten letter from Weisse to Schenker, dated April 21, 1931
Weisse has received from Furtwängler a letter ‒ probably one written to him by
Ludwig Karpath ‒ that suggests there is cause for optimism concerning financial support for
the publication of Schenker's writings. He copies out a glowing personal reference that
Furtwängler has written [in support of his application to teach at the Mannes School of
Music].
-
OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931
Under increasing pressure from Schenker, Weisse assures his teacher that
Furtwängler will not be long in making up his mind to seek financial support for Schenker’s
publications. He asks to see Schenker.
-
OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931
Cube is busy disposing of his house and dealing with his father's estate; he is
moving to Hamburg to work with Moriz Violin after a short holiday.
-
OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931
Hoboken may stay at the Semmering spa for a few more days, and discusses his
next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.
-
OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931
Deutsch asks Schenker to return the edition of the first version of
Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays,
he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and
asks Schenker’s advice about accommodation, possibly in Galtür.
-
OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931
Cube describes his feelings and final dealings with the Conservatory in Duisburg,
and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss
and Lieselotte Müller.
-
OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
-
OJ 15/16, [77] Handwritten letter from Weisse to Schenker, dated June 1, 1931
Weisse sends Schenker a letter written by Furtwängler, from which it can be
inferred that a major subvention for the printing costs of Meisterwerk III has been obtained
and that there is every reason to expect that a significant part of the costs of publishing
Der freie Satz will also be met.
-
OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931
Deutsch will not be spending the summer holiday in Ischgl, but with a family
in Nauders. He hopes to see Schenker before the Schenkers go on holiday.
-
OJ 6/8, [4] Handwritten letter from Schenker to Violin, dated June 11, 1931
Schenker expresses his feelings about the establishment of a music school in
Hamburg named after him, believing it to represent a spiritual union of Violin with himself.
He is sending him some recent compositions by Weisse, which he finds well
composed.
-
OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931
Weisse expresses his joy and gratitude at Schenker's approval of the
three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of
them, he asks for the names of the recipients of the other copies.
-
OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931
Weisse sends Schenker further corrections of printing errors [in Meisterwerk
III], and notes that the book has recently been reviewed.
-
OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931
Haas sends summer greetings, and agrees to advise Angi Elias.
-
OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
-
OC 50/14 Typewritten letter from Elsa Bienenfeld to Schenker, dated July 15, 1931
Bienenfeld explains her disagreement with Schenker’s acceptance in an article
of a Mozart letter of questionable authenticity, and inquires whether in the event of a
negative judgment he still wishes there to be a review.
-
OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18,
1931
Violin’s son collapsed while away on a school holiday, but is now recovering.
The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a
copy of the prospectus for the Schenker Institute.
-
OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
-
OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931
Replying to Schenker’s recent letter and postcard, Deutsch says that he will
be out of the country in the first half of September (travelling with a choir). He is
delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to
see Schenker’s work praised. His wife and family have now recovered from illnesses. He is
still awaiting a letter from Drei Masken Verlag.
-
OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931
Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends
Schenker a copy of the Schenker Institute prospectus.
-
OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
-
OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931
Weisse outlines his travel plans before leaving for America. He has accepted
an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before
he sets sail.
-
OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
-
OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.
-
FS 40/1, [3] Handwritten letter from Schenker to Salzer, dated September 14, 1931
Schenker asks for a meetings to discuss lesson schedule.
-
OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931
Hoboken encloses a check for 39 past lessons and reports on his work during
the summer. -- He comments on books by Hans Meyer and Cassirer.
-
OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
-
OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931
Schenker tells Hoboken not to concern himself too much with the Urlinie: it is
the linear progressions that really matter.
-
OJ 12/9, [28] Typewritten letter and envelope from Karpath to Schenker, dated October 23,
1931
To Schenker's inquiry regarding Moriz Violin, Karpath gives information as to
how in the era of Perger and Bopp at the Vienna Conservatory professors and teachers were
addressed.
-
OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931
Deutsch has been in touch with Robert Haas about a civic honor being conferred
upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in
Vienna. He asks if Schenker might request a letter from Furtwängler recommending this
action, and be able to get Julius Korngold to write something about the importance of
Hoboken’s collections.
-
OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931
Deutsch reports that Hoboken is probably going to keep his personal library in
Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of
Professor, which can be conferred only by the Vienna Academy and not to people living [i.e.
working] outside it.
-
OJ 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931
Weisse describes his new life in America; — is touched by the spirit that
pervades the Mannes Music School; — has given a lecture to the faculty on the role of a
theorist in a music school. — He reports that he has 22 pupils, and is about to meet George
A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news
from Hamburg.
-
OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931
In advance of a meeting to discuss the conferral of an honor upon Anthony van
Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his
support for this action.
-
OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931
Cube reports enrollment and quality of students at the Schenker Institute,
Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and
Meisterwerk. Karl Violin is recovering.
-
OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.
-
OJ 9/34, [29] Handwritten letter from Cube to Schenker, dated October 20, 1931
Encloses graph of J. S. Bach, Wohltemperirtes Clavier, Book I, Prelude in C major and asks Schenker's
opinion of several aspects of his graphing.
-
OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931
Deutsch enumerates three points arising from his meeting the previous day
(October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for
education) should be approached regarding the conferral of a civic honor upon Anthony
Hoboken by the Austrian state; that Hoboken’s character and reputation should in the
meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should
invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal
library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully
and with reference to these three points.
-
OJ 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931
Schenker has written to Ludwig Karpath concerning the matter of Violin’s
appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17).
He hopes that his friend's difficulties are now entirely behind him.
-
OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931
Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor
from the Austrian state is working so far. He has spoken on the telephone with Ludwig
Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an
incident in Munich some time ago: whatever misdeed he may have for which he had been
accused, and which led to his (brief) incarceration, can never be proved.
-
OJ 5/7a, [40] (formerly vC 40) Handwritten letter from Schenker to Cube, undated [c. October 29, 1931]
Angi Elias has made a fair copy of Cube's latest graph of the C major Prelude
(Wohltemperirtes Clavier, Book I), which Schenker may use in his seminar; Cube to write thanking
Elias; Schenker comments on changes to Cube's graph.
-
OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931
Violin thanks Schenker for his package. He has been swamped by administrative
business concerning the Schenker Institute, but is sometimes able to argue about musical
matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s
part concerning the analysis of the end of the C major Prelude from the first book of Bach’s
Well-tempered Clavier.
-
OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5,
1931
Hertha Weisse thanks the Schenkers for an invitation to their place, and asks
Jeanette to suggest two possible dates.
-
FS 40/1, [4] Handwritten letter from Schenker to Salzer, dated November 6, 1931
Salzer has overpaid and Schenker will return the excess.
-
OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931
Furtwängler would hear with Schenker. — He has heard good news of Weisse from
Violin.
-
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
-
OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
-
OJ 10/3, [161] Typewritten letter from Deutsch to Schenker, dated December 19, 1931
Deutsch has a few things to give Schenker and much to tell him about, and
gladly accepts an invitation for December 26 or 30.
-
OJ 6/8, [9] Handwritten letter from Schenker to Violin, dated December 24, 1931
Thanking Violin for his recent letter, Schenker bemoans the present condition
of the world, and expresses the hope that his health will enable to see him through the
worst of the days to come.
-
FS 40/1, [5] Handwritten letter from Schenker to Salzer, dated December 28, 1931
Schenker replies that there will not be a seminar meeting on January 1. — Draws
attention to a feuilleton.
-
FS 40/1, [6] Handwritten letter from Schenker to Salzer, dated December 31, 1931
The Schenkers reciprocate New Year's greetings.
-
OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932
Hoboken sends New Year's greetings, refers to an article about the Photogram
Archive, and outlines his travel plans.
-
OJ 9/34, [30] Handwritten letter from Cube to Schenker, dated January 16, 1932
Cube encloses the requested clipping and an explanatory letter.
-
OJ 5/7a, [42] (formerly vC 42) Handwritten letter from Schenker to Cube, dated January 20, 1932
Schenker acknowledges an enclosed review and letter, and comments on [Ludwig]
Rottenberg. That music has cohesiveness (Zusammenhang) has finally been recognized; this must be
disseminated.
-
OJ 12/24, [3] Typewritten letter from Kromer to Schenker, dated January 26, 1932
The Archive has defective photographic copies and offers them for student
use.
-
OJ 15/16, [84] Handwritten letter from Hertha Weisse to the Schenkers, dated February 9,
1932
Hertha Weisse gratefully accepts a second invitation from the
Schenkers.
-
OJ 89/5, [2] Handwritten letter from Schenker to Hoboken, dated February 27, 1932
Schenker thanks Hoboken effusively for the letter of guarantee [for Der freie
Satz publication costs].
-
OJ 12/6, [10] Typewritten letter from Jonas to Schenker, dated March 3, 1932
Jonas reports on his course on Schenker's theory at the Stern Conservatorium,
two forthcoming lectures, an article intended for publication, two radio talks and a radio
recital; includes reference to his later textbook Das Wesen des musikalischen
Kunstwerks.
-
OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932
Furtwängler liked his essay; Jonas describes his lectures at the Conservatory;
the situation with Einstein over publishing his review of Meisterwerk 3; asks about
permission to consult Brahms's arrangement of Saul.
-
OJ 11/16, [10] Typewritten letter from Furtwängler to Schenker, dated April 5, 1932
Furtwängler thanks Schenker for a gift, and wishes to call on
him.
-
OJ 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932
Schenker has presented Furtwängler with a copy of Brahms's arrangement of
Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give
Jonas access to the score.
-
FS 40/1, [7] Handwritten letter from Schenker to Salzer, dated April 13, 1932
Schenker sympathizes with Salzer over his illness. — He is expecting the first
sample of engraved proof today.
-
FS 40/1, [8] Handwritten letter from Schenker to Salzer, dated April 19, 1932
Schenker reports on a letter from Weisse and asks Salzer to translate an
interview text for him.
-
OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932
Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an
extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he
expresses fears for the Hamburg Schenker Institut. He has just got married.
-
OJ 9/34, [32] Handwritten letter from Cube to Schenker, dated May 11, 1932
Cube reports a conversation with Moriz Violin.
-
OJ 11/2, [3] Handwritten letter from Emma Fischer to Schenker, dated May 26, 1932
Baroness Fischer sends her commiserations to Schenker on the death of Alfred
Rothberger, and comments on the latter's(?) children. -- She will be playing movements 2 and
3 of her piano concerto on the radio, and asks Schenker to listen. -- She has broken her
left ankle.
-
OJ 15/16, [85] Handwritten letter from Hertha Weisse to Heinrich Schenker, dated May 26,
1932
Hertha Weisse reports that her husband will be arriving in Vienna in a couple
of days, but that the Mannes School needs a bit more time to consider a proposal [presumably
for the joint publication of the Fünf Urlinie-Tafeln / Five Analyses in Sketchform by
Universal Edition in Vienna and the David Mannes School in New York].
-
OJ 15/22, [2] Handwritten letter from Willfort to Schenker, dated June 7, 1932
Willfort and Greta Kraus are still uncertain as to whether they will be able to
participate in Schenker's seminar next academic year.
-
FS 40/1, [9] Handwritten letter from Schenker to Salzer, undated [June 11, 1932]
Schenker reciprocates good wishes for the summer, and will pursue the further
volumes of the Fünf Urlinie-Tafeln without regard for the American "mentality."
-
OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12,
1932
Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s
letter on the subject. He updates Violin on the forthcoming publication of the Fünf
Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the
sale of the work than it deserves.
-
OJ 38/338 Incomplete handwritten letter from Elias to Schenker, undated [c. June 16,
1932]
Miss Elias sends best wishes for the Schenkers' vacation in
Igls.
-
OJ 15/16, [86] Handwritten letter from Hans Weisse to Schenker, dated June 21, 1932
Weisse acknowledges receipt of two letters from Schenker, but has been
burdened by visa problems at the American consulate in Vienna. He will reply at greater
length when he arrives in Grundlsee, in a few days’ time.
-
OeNB Mus.Hs. 36390/1 [3] Handwritten fragmentary letter from Violin to Schenker, late June 1932
Violin will continue to fight for Schenker’s cause, but is not sure he will be
able to do it from Hamburg much longer; he will decide in October. He hopes that the
Schenkers are enjoying their summer holiday in Igls.
-
OJ 9/34, [33] Handwritten letter from Cube to Schenker, dated July 2, 1932
Cube outlines, with music examples and graphs, a theory of tonal system and modal
mixture based on "the series of 5ths," "the closed-up circle of 5ths," and "differentiation of
the resultant intervals in a diatonic projection" as a scale. He asks for Schenker's
reaction.
-
OJ 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932
Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; —
discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln
from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen
Kunstwerkes. — Has received books from Alfred Einstein.
-
OJ 5/18, 11 Handwritten letter from Schenker to Jonas, dated July 18, 1932
Schenker tries to account for Furtwängler's unavailability for a conference over
the Handel Saul score. — He does not need the copy of [Beethoven] Op. 109 offered by Mr. Kromer.
— An introduction to his theory would be "in order," but its marketing might be problematic and
require a benefactor; he regrets that Anthony van Hoboken is not such a person.
-
OJ 11/32, [10] Typed letter from Robert Haas to Schenker, dated July 22, 1932
Haas sends summer greetings and urges holding a Board of Trustees' meeting in
September.
-
FIBA 13/MO1 Handwritten letter from Schenker to Rudolf von Ficker, dated July 27, 1932
Schenker requests a meeting with Ficker in Igls.
-
OJ 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932
Hoboken comments on some contemporary music; — he comments adversely on the
new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva
Boy with him.
-
OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932
Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of
an article.
-
OJ 11/16, [11] Handwritten letter from Furtwängler to Schenker, dated August 2, 1932
Furtwängler thanks Schenker for his letter and for sending Urlinie graphs;
praises Schenker's "fight ... for genius"; he is unable to visit now, but hopes to later;
inquires about Weisse.
-
OJ 15/22, [3] Handwritten letter from Willfort to Schenker, dated August 6, 1932
Willfort reports that Salzer has escaped with only minor injuries; — is thrilled
by the Five Analyses in Sketch-Form, of which he has just seen a copy.
-
OJ 12/6, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932
Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send
addresses for recipients of invitations [to subscribe]. Reports on his professional
prospects and contacts in Berlin, and on reviewing.
-
OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5,
1932
Hoboken sets out his plans to leave Vienna, pack his furniture and put his
music collection in store, and how he sees the continuation of his lessons with and work
under Schenker.
-
OJ 5/18, 13 Handwritten letter from Schenker to Jonas, dated September 7, 1932
Der freie Satz is complete, and Anthony van Hoboken has volunteered
[financial] assistance. Schenker wonders whether van Hoboken might not provide support for
Jonas, too.
-
OJ 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932
Cube outlines the conflict between Moriz Violin and the school authorities over
inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with
Violin, and asks for Schenker's opinion.
-
OJ 15/16, [87] Handwritten letter from Hans Weisse to Schenker, dated September 14, 1932
After a long silence, for which he apologizes, Weisse congratulates Schenker
on the completion of Der freie Satz and reports that he has composed a violin sonata, which
retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker
the dates of his sailing to America and his address in New York.
-
OJ 11/32, [11] Typed letter from Robert Haas to Schenker, dated September 15, 1932
Haas asks Schenker to call on him in relation to a letter from van Hoboken
regarding the Photogrammarchiv.
-
OJ 89/5, [6] Handwritten letter from Schenker to Hoboken, dated September 17, 1932
Schenker announces the completion of Der freie Satz, and discusses the timing of
Hoboken's disbursement to cover its printing costs.
-
FS 40/1, [13] Handwritten letter from Schenker to Salzer, dated September 22, 1932
Schenker reports a conversation with Trude Kral.
-
OC 18/34 Typewritten letter from Arthur Waldeck to Schenker, dated September 22, 1932
Waldeck expresses an interest in translating Schenker' Harmonielehre into
English, and asks to send sample passages.
-
OJ 11/16, [12] Handwritten letter from Furtwängler to Schenker, dated September 22, 1932
Furtwängler was prevented from visiting Schenker in August by having to go
into the Cottage Sanatorium, Vienna. He hopes to see Schenker during the winter, and asks
whether he might like to do the ceremonial address for the Brahms
Centenary.
-
OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22,
1932
Hoboken is pleased at completion of Der freie Satz and reaffirms his financial
assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way
meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able
to assist Jonas's publication.
-
OJ 5/18, 14 Handwritten letter from Schenker to Jonas, dated September 23, 1932
Schenker sends further addresses [for Jonas's subscription appeal]. —He fears
Hoboken may reduce his support.
-
OJ 5/18, 15 Handwritten letter from Schenker to Jonas, dated September 24, 1932
Schenker quotes from a letter received from Hoboken re: financial
support.
-
OJ 12/6, [38] Handwritten letter from Jonas to Schenker, dated September 25, [1932]
Jonas reports letter from Hoboken re subscriptions to his Einführung; also
reports re publishing (Breithaupt), reviewing (for Einstein), and imminent broadcast talks,
and teaching next academic year; also re Sandra Droucker lecture on Schenker in
Oslo.
-
OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932
Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for
approving an article about the Photogrammarchiv that he hopes will be published in Die
Musik.
-
OJ 12/6, [17] Handwritten letter from Jonas to Schenker, dated November 27, 1932
Jonas has received a preliminary refusal from Anthony van Hoboken [over
subscriptions for Das Wesen des musikalischen Kunstwerks], and seeks Schenker's advice;
reports contact with Furtwängler; comments on lectures given by Webern.
-
OJ 71/9, [1] Typewritten letter (carbon copy) from Otto Erich Deutsch to Hoboken, with
handwritten annotation by Deutsch to Schenker, dated October 3, 1932
Deutsch expresses offense at Hoboken's behavior. Hoboken forwards copy to
Schenker.
-
OJ 89/5, [8] Handwritten letter from Schenker to Hoboken, dated October 17, 1932
Schenker asks Hoboken to honor his testamentary instructions as to the
"fragmentary" publication of Der freie Satz in the event of his early death.
-
OJ 12/6, [24] Handwritten letter from Jonas to Schenker, dated October 25, 1932
Jonas acknowledges OJ 5/18, 16 (not surviving); is pleased his article has
Schenker's approval; sends [text of] lecture for Schenker's judgment; result of subscription
[for Einführung] so far depressing.
-
GdM Briefe HS, [2] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated October
31, 1932
Schenker requests permission to use Brahms's "Octaven und Quinten" in Der freie
Satz or as a separate publication.
-
GdM Akten 34 ex1932/33, [1] Typewritten letter, carbon copy, from Friedrich Dlabač (Gesellschaft der
Musikfreunde) to Schenker, dated November 3, 1932
The Gesellschaft der Musikfreunde grants permission for Schenker to publish
Brahms' "Octaven und Quinten."
-
OJ 89/5, [9] Handwritten letter from Schenker to Hoboken, dated November 7, 1932
Schenker reports that the [Vienna] Akademie wishes to introduce his Harmonielehre
into its curriculum in an abridged version. — The Gesellschaft der Musikfreunde has granted
consent.
-
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.
-
OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932
Jonas acknowledges letter from Schenker and gives initial list of subscribers
with number of copies; he reports on two of his latest publications.
-
OJ 89/5, [10] Typewritten letter (carbon copy) from Hoboken to Schenker, dated November 11,
1932
Hoboken welcomes the Akademie's acceptance of Schenker's Harmonielehre,
abridged, for teaching purposes; — He has started his cure at the spa.
-
OJ 14/1, [1] Handwritten letter from Salzer to Schenker, dated November 14, 1932
Salzer reports marvelous Bach performance by Carl Bamberger.
-
OJ 11/16, [13] Handwritten letter from Furtwängler to Schenker, dated November 16, 1932
Furtwängler is in Vienna and wants to visit Schenker today.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OC 18/35 Typewritten letter from Arthur Waldeck to Schenker, dated November 21, 1932
Waldeck will report back to Schenker and send sample
translations.
-
OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
-
OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte:
December 1, 1932]
Schenker discusses likely sales for Jonas's Das Wesen, and will himself help
promote the book; warns Jonas against Hoboken.
-
OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932
Cube reports on his current state of mind, his work on a Bach graph (commenting
on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the
Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl
Violin.
-
OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932
Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not
written a letter for publication. — He has been exploring possibilities for Schenker in
Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional
lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a
review by Herman Roth, and comments on the latter's character.
-
OJ 12/6, [18] Handwritten letter from Jonas to Schenker, dated December 15, 1932
Jonas comments on Schenker's article in Der Kunstwart; reports conversation
with Furtwängler; would like to write something on Handel-Brahms Saul; has heard nothing
further from van Hoboken.
-
OJ 89/5, [13] Handwritten letter from Schenker to Hoboken, dated December 17, 1932
Schenker thanks Hoboken for the lesson fee, and reports that as he worked through
Brahms's file of Oktaven und Quinten, he found a piece of work in his own hand! — He reports
progress on Der freie Satz.
-
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
-
OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932
In this partly incoherent message which responds to Schenker’s recent letters,
especially that of December 19, Violin urges his friend to remain optimistic. He will
discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s
letter to Schenker.
-
OJ 11/32, [13] Typed letter from Robert Haas to Schenker, dated December 22, 1932
Haas gives information about an early copy of a Beethoven
score.
-
OC 38/341v Handwritten letter from Moriz and Fanny Violin to Schenker, dated December 24,
1932
Violin asks Schenker’s opinion about a reply to a letter he sent to Joseph
Marx, who had been in Constantinople (Istanbul) for the purpose of regenerating a music
conservatory there; he encloses a copy of Marx’s reply, which mentions Schenker in
particular.
-
OJ 6/8, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932
In this letter, much of it written in a bitter and sarcastic tone, Schenker
urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought
assistance for his friend from Ludwig Karpath and Josef Marx.
-
OeNB H Autogr.856/20-1 Handwritten letter from Schenker to Josef Marx, dated December 25, 1932
Schenker has read articles by Marx in a newspaper expressing disatisfaction at
musical life in Vienna; Schenker asks urgently to have a face-to-face meeting with Marx to
discuss these matters and probably others concerning Moriz Violin.
-
OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
-
FS 40/1, [15] Handwritten letter from Schenker to Salzer, dated December 31, 1932
The Schenkers send New Year's greetings to the Salzers, and celebrate Salzer's
forthcoming book.
-
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.
-
OC 30/40 Handwritten letter from Trude Kaff to Schenker, dated December 31, 1932
Trude Kaff sends New Year greetings to Heinrich Schenker and thanks him for
the instruction that he gave her, which has influenced her ever since.
-
OJ 5/44, [3] Handwritten letter from Schenker to Arthur Waldeck, dated December 31,
1932
Schenker thanks Waldeck for sample translations, which he will forward to Hans
Weisse for comment.
-
OC 18/15 Typewritten letter from Josef Marx to Schenker, dated January 2, 1933
Marx welcomes Schenker's views, and will visit him upon his return from the
Graz region.
-
OC 18/29 Typewritten letter from Frederick E. Auslander to Schenker, dated January 5,
1933
Auslander seeks permission from Schenker and his publishers to translate some of
his works.
-
OC 30/41 Handwritten letter from Schenker to Trude Kaff, undated [c. January 5,
1933]
Unfinished, unsent letter of thanks from Schenker to Trude
Kaff.
-
OeNB H Autogr.856/20-2 Handwritten letter from Schenker to Josef Marx, dated January 12, 1933
Schenker invites Marx to tea at the Schenkers' apartment.
-
OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15,
1933
Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures
her to be steadfast; says the doctor holds out possibility for recovery; asks for any news
on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with
little Karl. [This letter was passed to Heinrich Schenker.]
-
OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933
Schenker gives Violin an account of a three-hour meeting he had with Joseph
Marx, who expressed his highest regard for Schenker's theories; he expects that his writings
will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest
and goodwill.
-
OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933
Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a
post at the Akademie für Musik, extolling his qualities as musician and
colleague.
-
OJ 89/6, [1] Handwritten letter from Schenker to Hoboken, dated January 20, 1933
Schenker reports (1) discussion with Joseph Marx of a school version of his
Harmonielehre for the Akademie curriculum; (2) proposal from New York for an English
translation of Harmonielehre.
-
OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933
Karpath reports that Joseph Marx is a candidate again for the Directorship of
the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a
professor at the Academy. — He says that he will write a letter to
Furtwängler.
-
OJ 6/8, [21] Handwritten letter from Schenker to the family of Moriz Violin, postmarked January
24, 1933
Schenker sends condolences, from Jeanette and himself, to the whole Violin
family on the death of Karl Violin, reassuring them that they did all they could in his
lifetime.
-
Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933
Schenker has received a letter from Karpath, and alerts Furtwängler that he will
be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit
by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate
with the Akademie, but appointments there come about only by intrigue.
-
OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933
Jonas still has no response from Hoboken re: his Einführung; encloses four
essays; reports on forthcoming article, his teaching and advocacy of critical editions,
planned radio lectures and performance, and other work.
-
OC 18/46 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated January 30,
1933
Covering letter for a letter of recommendation (OC 18/47) by Furtwängler for
Schenker.
-
OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933
Furtwängler encloses copies of two letters he has sent to Ludwig
Karpath.
-
OC 18/47 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated February 6,
1933
Letter of recommendation by Furtwängler, which stresses expressly Schenker's
great significance as a music theorist.
-
OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price
for Jonas's Einführung has been set too high; Schenker advises caution with
Hoboken.
-
OC 18/51 Typewritten letter from Karpath to Schenker, dated February 10, 1933
Karpath reports receipt of the letters from Furtwängler and that he is not
very happy with them. He will however submit the letter of recommendation to the President
of the Academy, Karl Kobald.
-
OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15,
1933
Hertha Weisse reports that, through Hans's teaching at Columbia University and
the Mannes School, Schenker's work has gained a footing in New York (where people seem more
receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into
the spirit that has given such joy to her husband's pupils. The children are growing up
speaking German, and she has begun to restudy the piano.
-
OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a
typewritten annotation from Karpath to Schenker, dated February 15, 1933
Karpath sends the copy of a letter to Furtwängler. He again shows himself
discontented with the latter's letter. In his letter to the conductor he asks for another
letter of recommendation.
-
OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15,
1933
Miss Boy has had an angina attack — they are to be married; — The number of
subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial
support for it with that for Schenker's Freier Satz.
-
OJ 15/16, [89] Handwritten letter from Weisse to Schenker, dated February 15, 1933
Weisse has received a copy of Otto Vrieslander's recently published songs and
has written Vrieslander a long, critical letter. — He reports on initiatives to have some of
Schenker's writings translated into English, and on the success of his analysis of the Bach
C major Prelude. Their having purchased copies of the Five Analyses in Sketchform/Fünf
Urlinie-Tafeln, published by the David Mannes School, is further testimony of Schenker's
success on American soil.
-
OC 18/53 Handwritten letter from Karpath to Schenker, dated February 17, 1933
Karpath stresses that Furtwängler's testimonial is unusable for putting
Schenker forward to the authorities [i.e. in the Ministry of Education] as a candidate for a
professorship.
-
OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker
reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in
press) and Der freie Satz (which he thinks will take two years to publish) that may yet see
the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version
of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der
Musik.
-
OC 18/54 Handwritten letter from Karpath to Schenker, dated February 24, 1933
Karpath reports a conversation with Academy President Karl Kobald about a
position for Schenker, and regrets being unsuccessful. Kobald and Marx would have
recommended Schenker for a newly established "Austro-American course." Karpath asks for a
meeting with Schenker.
-
OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933
Marx thanks Schenker for hospitality on January 18. He lacks the influence at
the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the
inclusion of Schenker's name on the list of publications to be taken into account in its
teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot
say how the Ministry of Education will judge that name.
-
OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933
Furtwängler asks if he can visit Schenker that evening.
-
OeNB H Autogr.856/20-4 Handwritten letter from Schenker to Josef Marx, dated March 4, 1933
Schenker speaks of his work having been proscribed in Vienna for 25 years, and
also allusively about a certain father and son. He compares the situation in Vienna
adversely with the size of Hans Weisse's lecture audience and his remuneration in New York.
Schenker asks for another meeting.
-
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 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 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 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.
-
OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8,
1933
Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. —
Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to
complete translations later.
-
OJ 15/22, [4] Handwritten letter with envelope from Willfort to Schenker, dated April 14,
1933
On behalf of seminar colleagues, Willfort asks if there is a lesson
today.
-
GdM Briefe HS, [3] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated April 21,
1933
Schenker notifies the Gesellschaft der Musikfreunde that they will be receiving
two complimentary copies of "Octaves and Fifths," and thanks it again for
permission.
-
OJ 6/8, [22] Handwritten letter from Schenker to Violin, dated April 21, 1933
Schenker eagerly awaits Violin’s arrival in Vienna. He will soon send his
friend a copy of the Brahms study Oktaven und Quinten.
-
OJ 89/6, [5] Handwritten letter from Schenker to Hoboken, dated April 24, 1933
Schenker is sending his Oktaven und Quinten, comments on it, and thanks
Hoboken for support; — comments on his "Erinnerungen an Brahms"; — hopes Hoboken will visit
in May.
-
OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933
Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der
freie Satz, sends an example of his work, and expresses concern over his future.
-
OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933
Schenker congratulates Hoboken and Eva Boy on their engagement, and comments
on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that
Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" —
He encloses an invoice from Universal Edition.
-
OJ 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933
Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the
economic conditions for musicians.
-
OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933
Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his
Einführung, he hopes for publication in the fall; — he has read the two articles by
Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on
16th.
-
OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933
Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in
his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political
developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.
-
OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
-
OJ 11/22, [6] Typewritten letter from the Gesellschaft der Musikfreunde (Barbara Haeberlein), dated
May 15, 1933
Enclosing an invitation for the opening ceremony of the Brahms Centenary
Festival, the writer asks which concerts Schenker would like to attend.
-
OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
-
OJ 11/22, [7] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač), dated May 19,
1933
Encloses seat assignments for two chairs at the evening concert.
-
OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
-
OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24,
1933
Haas is sending requested books of his, and invites borrowing over summer.
Kromer adds PS.
-
OJ 12/24, [7] Typewritten letter from Kromer to Schenker, dated May 27, 1933
Kromer gives details of an apartment in Bad Ischl.
-
OJ 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933
Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson
fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He
will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory,
but continue to study the piano with Violin.
-
UG 32/5, [2] Handwritten letter from Schenker to Guido Adler, dated May 31, 1933
Schenker thanks Adler for the offprint of his Brahms article.
-
OJ 11/32, [15] Typed letter from Robert Haas to Schenker, dated June 2, 1933
Haas is unable to lend Griesinger's Haydn book over the entire vacation. Sends best wishes
for the summer.
-
OJ 10/18, [5] Handwritten letter from Elias to Schenker, dated June 17, 1933
Miss Elias sends best wishes for Schenker's birthday, and reports a visit from
Robert Brünauer. — She encloses an "assessment" by Paul Stephan of a concert conducted by
Carl Bamberger.
-
OJ 89/6, [7] Handwritten picture postcard from Schenker to Hoboken, undated [June 22,
1933]
Schenker rhapsodizes about the Reigersberg Palace, and invites the Hobokens
for a visit.
-
OeNB Mus.Hs. 36390/1, [4] Letter from Moriz Violin to Schenker, dated June 28, 1933
The Violin family have escaped Nazi Germany, and are preparing for life in
Vienna; Violin looks forward to seeing his friend, and wishes him good
health.
-
FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.
-
OeNB H Autogr.856/20-5 Handwritten letter from Schenker to Josef Marx, dated July 8, 1933
Schenker asks Marx to intercede with Oswald Kabasta on behalf of Carl
Bamberger for the latter to be relayed on Radio Wien.
-
OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933
Schenker reports on a newspaper article and abortive radio program about his theory, by
Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on
progress with Der freie Satz.
-
OJ 89/6, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20,
1933
The Hobokens will not come to Reigersberg; — He re-sends his two songs for
further comment; — He sends a booklet by Gottfried Benn; — They are isolated in
Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the
Photogram Archive and expressed an interest.
-
OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933
In writing of Hoboken's prospects as a composer, Schenker is not interested in
creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram
Archive - but Cortot belongs to the already convinced. — He makes observations on some
inclosed feuilletons, and gives information about Goos.
-
OJ 15/16, [93] Handwritten letter from Hans Weisse to Schenker, dated July 27, 1933
Weisse thanks Schenker for a copy of an (unidentified) essay; he is
preoccupied by news of his father's death, and reports that the year ahead will be a
difficult one for America, in spite of the more optimistic mood that has come about since
Roosevelt became President. He has completed a Variations and Fugue on a Popular American
Song, for two pianos, and is now at work on a new string quartet.
-
OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933
Schenker suggests a possible time for Wolf’s first lesson, and a schedule for
him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to
Palestine, and suggests that the Jews there should come to Vienna to study with himself as a
“first-class Jew.” Their summer plans are not yet fixed.
-
OJ 13/2, [1] Typewritten letter from the Neue Schule für Musik und Bühnenkunst to Schenker, dated
August 3, 1933
Through an intermediary, Weissberger invites Schenker to teach a Beethoven
course at the Neue Schule für Musik und Bühnenkunst, Vienna
-
OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5,
1933
Hoboken is gratified by Schenker's praise of his song compositions; — He will
continue his Chopin projects someday, but is preoccupied with the worsening European
political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's
importance, and returns newspaper clippings that Schenker has sent him with
comments.
-
OJ 89/9, [1] Handwritten letter from Schenker to Hoboken, undated [August 15, 1933]
In returning it, Schenker comments on book by Gottfried Benn, and reports that
Der freie Satz is nearing completion.
-
OJ 13/2, [2] Typewritten letter from Alfred Weissberger to Schenker, dated August 18,
1933
Alfred Weissberger concurs with Schenker as to the lower value now placed on
ability and knowledge, though he thinks the younger generation see the arts as a means of
obtaining a livelihood; he will sound out the viability of a Beethoven course for the
following year, and leaves open the possibility of approaching Schenker
again.
-
OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933
Cube reports on his poor health and straitened cirumstances, teaching at two
conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his
investigation of diatonic systems.
-
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
-
OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933
Haas promises to have the Griesinger Haydn book delivered, and mentions
several other matters.
-
OJ 10/18, [6] Handwritten letter from Elias to Schenker, dated September 22, 1933
Miss Elias thanks Schenker for allowing her to continue on her
three-lessons-a-week schedule. — She rejoices at his good progress on Der freie Satz, and
the news that Jonas's book will be published.
-
FS 40/1, [17] Handwritten letter from Schenker to Salzer, dated September 24, 1933
Schenker sets [seminar] meeting date and reports on publications by Jonas,
Vrieslander, and von Cube.
-
OJ 15/22, [5] Handwritten letter from Willfort to Schenker, dated September 28, 1933
Willfort asks to be allowed to attend Schenker's seminar in the coming year with
less than last year's fee.
-
PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933
Schenker returns a loaned book.
-
OJ 89/9, [2] Handwritten letter from Schenker to Hoboken, undated [October 7, 1933]
Schenker acknowledges receipt of money transfer; — alludes to Jonas's forthcoming
book and two other books now in progress about his work; — refers to a review of his Oktaven u.
Quinten that misunderstands the nature of Brahms's collection.
-
OJ 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933
Schenker reports that Hoboken has asked to come for coffee, and he has invited
him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl
Bamberger to Violin and his daughter.
-
OJ 6/8, [28] Handwritten letter from Schenker to Violin, dated December 1, 1933
Schenker is lending Violin a copy of something amusing [a composition by Josef
Knettel] sent to him by Reinhard Oppel. He notes that Hans Wolf wants to leave Vienna early
for the holidays, but Schenker will insist on being paid in full for the lessons scheduled
in December.
-
OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933
The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the
printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no
word from van Hoboken. Jonas inquires after Free Composition.
-
OJ 5/18, 31 Handwritten letter from Schenker to Jonas, dated December 8, 1933
Schenker congratulates Jonas on handing over his volume to the printer; — he
gives van Hoboken's current address; — he has eye trouble; — comments on Furtwängler, and on
economic difficulties for music teachers in Vienna.
-
OJ 15/22, [6] Handwritten letter from Willfort to Schenker, dated December 9, 1933
Willfort encloses article by Citkowitz.
-
OJ 12/6, [26] Handwritten letter from Jonas to Schenker, dated December 10, 1933
Jonas asks how the music examples in Das Meisterwerk were printed, with
respect to his Das Wesen des musikalischen Kunstwerks. — In Riemann's Musiklexikon, ed. A.
Einstein, Einstein's reference to Schenker appears under "Bach."
-
OJ 6/8, [29] Handwritten letter from Schenker to Violin, dated December 11, 1933
Schenker asks Violin to seek his sister Fanny’s help in finding someone who
can produce typed copies of an article about him published in America [Israel Citkowitz,
“The Role of Heinrich Schenker”].
-
OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933
The music examples in Das Meisterwerk were engraved; Schenker draws attention
to and commends an article [by Israel Citkowitz].
-
OJ 12/6, [27] Typewritten letter from Jonas to Schenker, dated December 18, 1933
Jonas acknowledges OJ 5/18, 32; requests copy of Schenker's Syrische Tänze;
quotes from Schenker's entry in a Jewish lexicon. — He reports on local conditions; has
heard nothing from van Hoboken.
-
OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933
Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a
Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in
being Jewish but in having assimilated thoroughly enough to establish favorable relations
with the Catholic church, antisemites, and the news media. — Implying a parallel between
himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the
world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's
history.
-
OJ 89/6, [11] Handwritten letter from Schenker to Hoboken, dated December 25, 1933
Schenker speaks of recent articles by O. E. Deutsch and I. Citkowitz, and
reports on former pupils Hupka and Breisach.
-
FS 40/1, [19] Handwritten letter from Schenker to Salzer, undated [December 31, 1933]
Schenker sends New Year's greetings, recommends a Bartók recording, and looks
forward to listening to a Toscanini recording.
-
OJ 89/7, [1] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 5,
1934
Hoboken tells Schenker of his plans to build a house in Grinzing. — He praises
an article by Citkowitz. — He reports on Jonas's book.
-
FS 40/1, [20] Handwritten letter from Schenker to Salzer, undated [January 8, 1934]
Invitation to listen to Toscanini recording; Der freie Satz is finished.
-
OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934
Schenker encourages Hoboken to continue to live in Vienna, praising its racial
diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going
well.
-
OJ 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15,
1934
Hoboken explains his indecision over future residence in
Vienna.
-
OJ 89/7, [4] Handwritten letter from Schenker to Hoboken, dated January 17, 1934
Hoboken will probably not need to send money [for printing costs of Der freie
Satz] until 1935.
-
KA, [1] Handwritten letter from Heinrich Schenker to [Ludwig Landshoff], dated January 16‒18,
1934
Schenker expresses his thanks for the sending of Landshoff's edition of the J. S.
Bach Inventions.
-
OJ 89/7, [5] Handwritten letter from Schenker to Hoboken, dated February 25, 1934
Schenker comments on Eva van Hoboken's visit [of February 18]; — Encloses a
collection of articles, praises Hoboken's opposition to Ganche, and comments sardonically about
Schering, Kretzschmar, and Riemann.
-
OJ 89/7, [6] Handwritten letter from Schenker to Hoboken, dated February 27, 1934
Schenker speaks of an invitation received from the Reichsmusikkammer in
Berlin.
-
OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934
Weisse apologizes for long silence, largely on account of depression at the
lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. —
At Mannes he lectures about his own work, because it is important to show how Schenkerian
theory can have a practical application for composers; his pupil Israel Citkowitz is the
only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory
into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata,
and promises his Variations on a Popular American Song. — He is not coming to Europe this
summer. — Universal Edition is going ahead with a schools' version of Schenker's
Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an
American edition of this.
-
OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15,
1934
Hoboken outlines plans to expand publicity for the Photogram Archive. —
Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. —
Refers to the invitation to Schenker to contribute to the journal of the
Reichsmusikkammer.
-
OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934
Jonas has mailed off the book [to his publisher]; he hopes that Schenker will
approve of it [when eventually he sees it]. It comprises four chapters and two appendices. —
He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für
Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas,
whereas Jonas (with support from Furtwängler) had sought only students to whom to give
[private] lessons. — Jonas alludes to difficult conditions under which he is working, and
describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are
strained, despite Jonas's having included an appendix about the Photogrammarchiv in his
book.
-
FS 40/1, [21] Handwritten letter from Schenker to Salzer, dated March 25, 1934
Schenker cancels the seminar for March 30, and sends Easter greetings. — Is keen
to read the manuscript of Salzer's book. — Reports letter from Weisse regarding an English
translation of Harmonielehre.
-
OJ 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934
Jonas wishes the Schenkers a happy Easter. — His book expected out April 20:
Jonas wonders if it would be a good idea to ask Furtwängler for a letter for
it.
-
OJ 5/18, 38 Handwritten letter from Schenker to Jonas, dated April 7, 1934
Further to OJ 5/18, 37, Schenker reports his conversation with Hoboken, who
praised Jonas's book, then asked Schenker's opinion on how best to display the music
examples. Schenker attempts diplomatically to explain Hoboken's pettiness. — Furtwängler is
in Vienna. — Schenker praises Jonas's activities.
-
OJ 89/7, [8] Handwritten letter from Schenker to Hoboken, dated April 7, 1934
Schenker corrects and explains his error in counting subscriptions to Jonas's
book.
-
OJ 12/6, [31] Handwritten letter from Jonas to Schenker, dated April 15, 1934
Jonas acknowledges three communications; Hoboken has increased his subvention
for Jonas's book; Furtwängler has agreed to write a supporting letter. — Jonas proposes a
series of individual critical introductions to most frequently performed piano works and
concertos.
-
OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933
Schenker arranges a time for Violin and his sister to have supper with him:
not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a
week, on account of the substance of the theoretical material, but is willing to lower his
hourly rate for him.
-
OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934
Free Composition is completed. Schenker is pleased that Hoboken has come
round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he
reports that Salzer has completed a new book; — questions Jonas about his new plan, but
welcomes it; — Goos may not realize that Schenker is a Jew.
-
OJ 6/8, [26] Handwritten letter from Schenker to Violin, dated September 24, 1933
The Schenkers’ maid is ill and has been taken to the hospital, so the dinner
invitation to the Violins must be postponed.
-
OJ 9/34, [39] Handwritten letter from Cube to Schenker, dated April 29, 1934
Cube has broken his silence; believes he is defeated: encloses letter from his employer; will try
to enlist Furtwängler's support. He is known as "the" Schenkerian; others now avoid Schenker's name to protect
themselves. Does Schenker know of any possibility for him and his family in Austria? Encloses
graph.
-
OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934
Weisse will send Schenker his Variations and Fugue for 2 pianos when copies
are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes
the beauty of Tenants Harbor, Maine, where his family is spending the summer
vacation.
-
OJ 9/34, [40] Handwritten letter from Cube to Schenker, June 2, 1934
Quotes part of a letter from the Reichsmusikkammer regarding grounds for his
dismissal, and reports subsequent conversation with the Conservatory administration.
Encloses review of a recent lecture. Includes revised Ursatz for Bach Prelude in body of
letter. Inquires about Hans Wolf, and reports on Furtwängler.
-
OC 18/36 Typewritten letter from Arthur Waldeck to Schenker, dated June 3, 1934
After the failure of his initiative to fund a translation of Harmonielehre,
Waldeck tells Schenker of his plan to coauthor with Nathan Broder an article introducing
Schenker's theory [to English-speaking readers].
-
FS 40/1, [22] Handwritten letter from Schenker to Salzer, dated June 6, [1934]
Schenker is breaking his association with Willfort and Kraus, but offers to
continue working with Salzer.
-
OJ 9/34, [41] Handwritten letter from Cube to Schenker, dated June 7, 1934
Acknowledges a (non-extant) letter in which Schenker had expressed dismay at a review (enclosed
with OJ 9/34, [40]) of a recent lecture by Cube, who explains the circumstances under which he had to disguise
the source of some of his ideas: Schenkerian theory is regarded as "Jewish rubbish," and is no longer discussed;
one has to choose one words carefully.
-
FS 40/1, [23] Handwritten letter from Schenker to Salzer, dated June 11, 1934
Hoping that he and Jeanette will be able to get away on the 15th, Schenker
reports a conversation with Furtwängler, and the latter's praise for Jonas.
-
OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934
Publication of Jonas's book has been delayed until June 22; — he may give a
lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; —
Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a
putative publication by the Photogram Archive.
-
OJ 89/7, [9] Handwritten letter from Schenker to Hoboken, dated June 12, 1934
Schenker recounts a visit to Grinzing to view Hoboken's new house, and then to
the Kobenzl; — reports on last-minute work for Der freie Satz and a new edition of the Beethoven
piano sonatas; — comments on political developments in Europe; — Jeanette and he are leaving for
the summer vacation.
-
OJ 15/22, [7] Handwritten letter from Willfort to Schenker, dated June 14, 1934
Willfort, writing from Berlin, has been unable to make contact with Furtwängler.
— He has spent time with Jonas; — is disappointed that Schenker will not be in Vienna to hear
him conduct the Brahms' "Tragic" Overture; — gives travel plans; — inquires after Schenker's
reaction to his work on the "Moonlight" Sonata.
-
OJ 10/18, [7] Handwritten letter from Elias to Schenker, dated June 17, 1934
Miss Elias sends best wishes for Schenker's [66th] birthday. She hopes that in
Böckstein he can recover after the exhausting work on Der freie Satz.
-
OJ 5/18, 43 Handwritten letter from Schenker to Jonas, dated June 24, 1934
Schenker reports on visit from Furtwängler and future visit; — reacts to news
in Jonas's letter; — Brahms on Beethoven's notation; — printing of Der freie Satz begins
soon.
-
OJ 11/16, [14] Typewritten letter from Furtwängler to Schenker, dated June 25, 1934
Furtwängler sends a letter of recommendation for Moriz
Violin.
-
OJ 70/17, [2] Typewritten letter from Furtwängler to whomever, dated June 25, 1934
Furtwängler recommends Violin.
-
OJ 12/6, [33] Handwritten letter from Jonas to Schenker, dated June 29, 1934
Jonas describes his summer travel plans, including Bayreuth; hopes to meet
Schenker in Vienna in August. Reports state of play on his book, a proof copy of which
Furtwängler is reading. Reports on recent lecture, and prospect of another
lecture.
-
OJ 89/7, [14] Handwritten letter from Schenker to Hoboken, dated August 4, 1934
Schenker asks about Hoboken's address. — An article has appeared belatedly in
the Deutsche Zeitschrift.
-
OJ 89/7, [10] Handwritten letter from Schenker to Hoboken, dated July 12, 1934
8-page letter: Schenker thanks Hoboken for his support for Jonas's new book. — He
reminds Hoboken of his earlier promise to support Der freie Satz financially, and predicts that
costs will be high. — Otto Erich Deutsch has been granted a course at the Vienna Academy for
Music and Performing Arts.
-
OJ 14/1, [2] Handwritten letter from Salzer to Schenker, dated July 16, 1934
Salzer reports that he has secured his contract with Saturn Verlag. — He and his
wife have agreed to separate.
-
FS 40/1, [25] Handwritten letter from Schenker to Salzer, dated July 18, 1934
Schenker congratulates Salzer on his contract, and advises him to select a larger
size of music engraving than in Jonas's book.
-
OJ 12/6, [34] Handwritten letter from Jonas to Schenker, dated July 19, 1934
Jonas acknowledges two postcards, thanks Schenker for his note [re Das Wesen
des musikalischen Kunstwerks]; has heard nothing from Hoboken; Furtwängler is too busy to
read the book now; Jonas is going to Bayreuth. An errata list will have to be produced for
the book.
-
OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
-
OJ 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934
Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list
for his Das Wesen; Roth is working on continuo realizations of Handel.
-
OJ 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934
Willfort reports progress in his conducting career; he will be in Vienna next
academic year; has the prospect of a radio concert with RAVAG in September.
-
OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31,
1934
Hoboken assures Schenker that he will support him in his work. — He outlines
the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that
Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political
views expressed by E. F. Schmid, who has been appointed at the University of
Graz.
-
OJ 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934
Schenker expresses heartfelt thanks to Jonas for his book; their project is
fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in
Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence
regarding the planned Urlinie-Tafeln vol. II.
-
OJ 89/7, [13] Handwritten letter from Schenker to Hoboken, dated August 2, 1934
Schenker, in Böckstein, welcomes the Hobokens' imminent visit.
-
OJ 12/6, [36] Handwritten letter from Jonas to Schenker, dated August 6, [1934]
Jonas alludes to the Dolfuss assassination; gives his reactions to Bayreuth
(which he has just visited) and the Wagner cult. — He is seeing his publisher about the
proposed commentary editions.
-
OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette
Schenker's hand, undated [August 3‒6, 1934]
Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... —
Schenker reiterates his gratitude for previous financial support, and reports that he now
has 11 published works, many articles, and entries on him in several general encyclopedias.
— Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his
theories and the support he has given him. — He mentions his earlier proposal for a
Rothschild orchestra.
-
OC 44/16 Handwritten letter from Robert Brünauer to Schenker, dated August 8, 1934
Brünauer reacts favorably to Oswald Jonas's newly published
book.
-
OJ 5/44, [4] Handwritten letter from Schenker to Arthur Waldeck, dated August 9, 1934
Schenker implies that Der freie Satz is not yet at proof stage, and recommends
Jonas's Das Wesen des musikalischen Kunstwerks for the explanations that Waldeck
needs.
-
OJ 10/18, [8] Handwritten letter from Elias to Schenker dated August 16, 1934
Miss Elias reports that her mother has died.
-
OJ 5/18, 51 Handwritten letter from Schenker to Jonas, dated August 18, [1934]
Schenker re-sends a postcard that has been returned; mentions a visit by the
Hobokens
-
OJ 10/18, [9] Handwritten letter from Elias to Schenker dated August 23, 1934
Miss Elias thanks Schenker for his words of condolence. She has decided to
remain in Vienna to be with her brother.
-
OJ 12/6, [37] Handwritten letter from Jonas to Schenker, dated August 23, 1934
Jonas seeks advice on what to include in the first issue of the planned
elucidatory editions; — distribution of his book is delayed until September; — Jonas is
correcting proofs of two articles.
-
OC 44/42 Handwritten letter from Willfort to Schenker, dated September 1, 1934
Willfort gives particulars of his radio concert, implicitly hoping Schenker will
listen to it.
-
OC 44/15 Handwritten letter from Robert Brünauer to Schenker, dated September 20,
1934
Brünauer asks Schenker to put Moriz Violin in touch with Adalbert Franz
Seligmann.
-
OJ 15/16, [95] Handwritten letter from Hans Weisse to Schenker, dated September 23, 1934
Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently
written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses
have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has
completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports
and laments his mother’s death.
-
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
-
OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934
Furtwängler apologies for not visiting Galtür in the summer; he spent the
vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to
write publicly about Schenker's work; comments on current political situation. — Finds
Jonas's book excellent.
-
OC 44/23 Handwritten letter from Marianne Kahn to Schenker, dated September 29,
1934
Miss Kahn commits to her 1934/35 lesson schedule with Schenker. She reports on
her own pupil cohort.
-
OJ 11/16, [16] Typewritten letter from Furtwängler to Schenker, dated October 3, 1934
Furtwängler has used his influence to enable [Hans Wolf to exit
Germany].
-
OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934
Quotes letter from Furtwängler in extenso touching on reasons for dismissal and
articulating the importance of Schenker's theory; Cube describes the impact of this letter on his
Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and
censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the
diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies
rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a
"complex", feels downtrodden by everyone.
-
OJ 5/18, 59 Handwritten letter from Schenker to Jonas, dated October 16, 1934
Schenker cautions Jonas that he detects "something afoot" with Hoboken and his
wife. — Mentions Hans Wolf's reentry problems and reports on German students coming to him.
—An article on Schenker has been included in Spanish Enciclopedia universale. —Reports on
Zuckerkandl, Breisach, von Cube, and Weisse.
-
OJ 5/18, 60 Handwritten letter from Schenker to Jonas, dated October 25, 1934
Schenker thanks Jonas for the assistance he has given Hans Wolf, and reports
that Furtwängler has intervened on Wolf's behalf, and also helped von Cube obtain a position
in Hamburg; Hoboken "doesn't want to drop" Jonas.
-
OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934
Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic
connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in
print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in
the Spanish Enciclicopedia universale.
-
OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934
Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about
his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has
received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. —
Describes plans for forthcoming events in Hamburg.
-
OC 44/2 Handwritten letter from Salzer to Schenker, undated [November 5, 1934]
Salzer asks to see Schenker in order to set up a lesson time.
-
OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28,
1934
Jonas has agreed to let his publisher proceed with a lawsuit against Willi
Reich; he has written up the documentary evidence of the case and asks Schenker to circulate
it among his circle. — He reports his activities in Berlin. — He reports his dispute with
the Jüdischer Verlag.
-
OC A/287 Handwritten letter from Carl Bamberger to Schenker, dated December 11,
1934
Bamberger wishes to visit Schenker to report on his time in
Russia.
-
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.
-
OC A/297 Handwritten letter from Carl Bamberger to Schenker, dated December 24,
1934
Bamberger sends best wishes for the New Year, and inquires about a
visit.
-
OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934
Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to
the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he
has been invited to inspect the new accommodation for the Photogramarchiv.
-
OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1,
1935
Hoboken wishes Schenker good health, and strength to complete Der freie Satz.
— He discusses the furniture in the new premises of the Photogram Archive, and gives his
travel plans for January.
-
OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935
Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28
January; — he is reading the Hildebrand-Fiedler correspondence.
-
OJ 11/32, [18] Handwritten letter from Robert Haas to Jeanette Schenker, dated January 14,
1935
Haas sends commiserations to Jeanette on the death of
Heinrich.
-
OJ 12/24, [9] Handwritten letter, with envelope, from Kromer to Jeanette Schenker, dated January
14, 1935
Kromer sends condolences to Jeanette at Heinrich's death.
-
OJ 12/20, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač, Kraus) to Jeanette
Schenker, dated January 15, 1935
The Society send commiserations to Jeanette on the death of her
husband.
-
OJ 70/3, [1] Handwritten draft of a letter from Moriz Violin to Moriz Rosenthal, undated,
probably dating from c. January 20, 1935]
Violin regrets having failed to honor an agreement with Rosenthal to write an
"outpouring from the heart" regarding Schenker's theory, and proceeds to draft a statement
on the "presuppositions of the Urlinie," which he will re-draft in light of Rosenthal's
comments.
-
OJ 15/16, [96] Handwritten letter from Hertha Weisse to Jeanette Schenker, dated February 21,
1935
In this letter of condolence, sent together with one by Hans, Hertha Weisse
explains that the obituary of Schenker in the New York Times by Olin Downes, though based
partly on information supplied by Hans, was hastily written and contains many errors. A
pupil of Hans [Adele Katz] has prepared an article on Schenker's theory, which will soon be
published in an American music journal.
-
OJ 15/16, [97] Handwritten letter from Hans Weisse to Jeanette Schenker, dated February 21,
1935
In a letter of condolence to Schenker's widow, Weisse expresses his distress
at having, within the space of two years, lost his parents and now his spiritual father. He
offers to help Jeanette and Oswald Jonas read the proofs for Der freie Satz; but he cannot
afford to come to Europe in the summer, as the Mannes College can guarantee only half his
salary for next year. He asks her to send him a memento of her husband, and to consider
entrusting to him the care of some of Schenker's unpublished work.
-
OJ 12/6, [43] Handwritten letter from Jonas to Jeanette Schenker, dated March 9, 1935
Jonas thanks Jeanette for the opportunity to look at work of Schenker's
[unspecified]; Jonas, Salzer, and Saturn Verlag wish to bring out a music journal in
Schenker's memory: Jonas requests access to unpublished materials; he inquires whether
Jeanette has reached an understanding with Saturn Verlag over aphorisms.
-
OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26,
1935
Weisse outlines a plan to give Jeanette financial support in the form of a
collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month,
for a year, and encloses the first of three planned annual payments. — He inquires whether
Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments
might be included in an Afterword to a projected English translation. — He plans an
exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of
Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about
his family and their summer plans.
-
OJ 12/6, [45] Handwritten letter from Jonas and Salzer to Jeanette Schenker, dated June 27,
1935
Jonas and Salzer raise the founding of a new journal dedicated to Schenker's
teaching and ideas, and also the possible publication of Schenker's Nachlass.
-
OJ 10/18, [12] Handwritten letter from Elias to Jeanette Schenker dated June 28, 1935
Miss Elias thanks Mrs. Schenker for photographs, and regrets having missed her
phone calls. — She hopes Mrs. Schenker will recuperate in the spa house. — She reports that
Mrs. Schenker's wishes have been carried out with regard to Heinrich's gravestone and
remarks on the beauty of the inscription. — She comments on an article by Victor
Zuckerkandl, and reports her own activity in graphing a piano piece by Schenker and
re-graphing Beethoven's "Appassionata" Sonata.
-
OJ 89/8, [2] Handwritten letter from Jeanette Schenker to Anthony van Hoboken, dated June 29,
1935
Jeanette informs Hoboken that she has received from Ernst Oster an errata list
for Der freie Satz, and asks Hoboken whom he thinks would be a qualified person to check
this.
-
OJ 5/36, [1] Handwritten draft of letter from Jeanette Schenker to Salzer and Jonas, dated July 2,
1935
Jeanette Schenker acknowledges a letter stipulating that no part of the Schenker
Nachlass should be published or performed before the statement of rights and responsibility has
been completed..
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OJ 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5,
1935
Willfort lays out his plans for an abbreviated edition of Schenker's
Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.
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OJ 11/54, [43] Typewritten letter from Hoboken to Jeanette Schenker, dated July 12, 1935
Hoboken regrets the printing errors in Der freie Satz and suggests that Ernst
Oster prepare a list.
-
OJ 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14,
1935
Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.
-
OJ 15/22, [11] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 18,
1935
Willfort explains his involvement in plans for a re-edition of the Harmonielehre,
and thanks Jeanette for two photographs.
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OJ 10/18, [13] Handwritten letter from Elias to Jeanette Schenker dated August 1, 1935
Jeanette Schenker, currently in Hofgastein, has decided where to live in the
future; that involves leaving Keilgasse. — Elias supports Jeanette in her view of a new
edition of Harmonielehre. — Elias is surprised to hear the plan for a Schenker Institute in
Vienna. — She regrets that Schenker's aphorisms will not be published by Ungar. — She has
been unable to meet with Moriz Violin regarding the "Appassionata" Sonata. — She is reading
Der freie Satz.
-
OJ 15/16, [100] Handwritten letter from Hans Weisse to Jeanette Schenker, dated September 18,
1935
Weisse thanks Jeanette for sending a photograph of her late husband’s
death-mask, and other photographs. — He offers her advice about what to do with Heinrich's
library of books, and with his sketches and other unpublished analyses. The bulk of the
letter is a critique of Der freie Satz, about which he has serious misgivings, partly
concerning the title and subtitle, partly concerning its status as a textbook
(Lehrbuch).
-
OJ 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22,
1935
Weisse thanks Jeanette for the photographs of her husband, and will distribute
them to his pupils soon, when he sends the next payment of financial support that he has
collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to
an English-speaking audience, and urges her to consider agreeing to a suitably shortened
version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an
English translation would do more harm to Schenker's cause than not to have it translated at
all, and it would be necessary to reconceive the presentation of the theory entirely,
especially with respect to terminology. — He suggests that there may be a market for
Schenker's library in American universities and libraries.
-
OJ 11/54, [45]-[46] Handwritten letter, with envelope, from Eva van Hoboken to Jeanette Schenker, dated
December 15, 1935
Eva van Hoboken sends 200 shillings for a copy of "Brahms
Erinnerungen."
-
OJ 11/16, [17] Typewritten letter from Furtwängler to Jeanette Schenker, dated January 15,
1936
Furtwängler thanks Jeanette Schenker for the gift of Der freie
Satz.
-
NYnscl MP.0008.01/1/1, 4 Handwritten letter from Jeanette Schenker to Arthur Waldeck and Nathan Broder, dated
March 9, 1936
Jeanette has received an article about Schenker written by Waldeck and Broder
and thanks the authors for the article and accompanying message. — She informs them that the
Wiener Schenker-Institut has successfully started up.
-
OJ 11/16, [18] Typewritten letter from Furtwängler to Jeanette Schenker, dated April 20,
1937
Furtwängler thanks Jeanette Schenker as a gift the score of the St. Matthew
Passion with Heinrich Schenker's annotations.
-
OJ 10/18, [15] Handwritten letter from Elias to Jeanette Schenker dated February 27,
1938
Mis Elias remarks that theory teachers tend to revert to the teaching of
Ludwig Thuille for fear of Schenker. — She is eagerly awaiting issues 8/9 of Der Dreiklang,
and recommends a radio relay of the St. Matthew Passion.
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LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938
Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the
USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco,
and advise him on possibilities there.
-
LC ASC 7/50, [1] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 2,
1938
Schoenberg reflects on his own relationship with Heinrich Schenker. — He is
willing to write a recommendation to Hertz for Violin and asks to whom to send it, and warns
Violin that it will not be easy to establish himself in San Francisco.
-
LC ASC 27/45, [4] Handwritten letter from Moriz Violin to Schoenberg, dated June 11, 1938
Violin seeks an affidavit to emigrate and asks Schoenberg's help in achieving
this. He would like to move to San Francisco.
-
OJ 70/26, [1] Handwritten letter from Willem Mengelberg to Eva Violin, dated June 23, 1938
Mengelberg is unable to help Moriz and Eva Violin directly in obtaining positions
in America, but encloses a letter of recommendation to Julia Steinway for
Moriz.
-
LC ASC 7/50, [2] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin and others, dated
July 30, 1938
Schoenberg notifies Violin and two others that each may receive an affidavit
in the near future [for emigration to the USA].
-
LC ASC 27/45, [5] Handwritten letter from Moriz Violin to Schoenberg, dated August 10, 1938
Violin provides Schenker with details of his wife and
himself.
-
OJ 70/35, [5] Handwritten letter from Schoenberg to Moriz Violin, dated December 23,
1938
Schoenberg has asked a rabbi to produce an affidavit, and offers this to
Violin in advance of receiving it.
-
LC ASC 27/45, [6] Handwritten letter from Moriz Violin to Schoenberg, dated January 17,
1939
Violin informs Schoenberg that he already has his affidavit, and thanks him
for his attempts. He asks Schoenberg for letters of recommendation for San
Francisco.
-
LC ASC 7/50, [3] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated March 2,
1939
Schoenberg is pleased that Violin has his affidavit, is happy to write
recommendations for him in San Francisco, and looks forward to seeing him in person
soon.
-
LC ASC 27/45, [7] Handwritten letter from Moriz Violin to Schoenberg, dated May 17, 1939
Violin has been ill for three months, and is due to sail on May 27 arriving
New York June 5. He asks about the cost of travel from Los Angeles, where he hopes to stay
en route, to San Francisco, and gives a temporary address in New York.
-
OJ 10/18, [20] Handwritten letter from Elias to Jeanette Schenker dated May 21, 1939
Mis Elias rejects a suggestion made in Jeanette's previous letter. She
inquires about the health of Jeanette's sister.
-
LC ASC 7/50, [4] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated June 6,
1939
Schoenberg writes to Violin in New York, advises him on the trip to San
Francisco via Los Angeles, and hopes to be able to accommodate him/them in Los Angeles. — He
regrets his powerlessness [over the affidavit].
-
LC ASC 27/45, [8] Handwritten letter from Moriz Violin to Schoenberg, dated June 13, 1939
Violin comments on American red tape. He has had to give the addresses of his
supporters and asks Schoenberg to provide a testimonial if asked; and expresses gratitude
for the Schoenbergs' offer of hospitality in Los Angeles.
-
LC ASC 27/45, [9] Handwritten letter from Moriz Violin to Schoenberg, dated June 20, 1939
Violin asks Schoenberg to write to the refugee committee in San Francisco. He
will let him know his arrival time.
-
OJ 70/71, [2] Typewritten letter of recommendation from Schoenberg to the Coordinating Committee
for German Refugees, San Francisco, dated June 21, 1939
Schoenberg letter of recommendation to the Coordinating Committee for German
Refugees in San Francisco.
-
LC ASC 27/45, [12] Handwritten coverletter from Moriz Violin to Schoenberg, dated July 20,
1939
Covering letter or note to Violin's c.v. [LC ASC 27/45, [13], including list
of names.
-
LC ASC 7/50, [6] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated July 21,
1939
Schoenberg has written a letter of introduction and modified Violin's draft
c.v., explains how he has done the latter, and advises Violin what to do with the materials.
— He asks advice on how to get the best exchange rate for Mark/Dollar.
-
LC ASC 27/45, [14] Handwritten letter from Moriz Violin to Schoenberg, dated July 24, 1939
Violin tries to express his debt to Schoenberg for recent help. — He advises
Schoenberg on how to transfer money at half the standard dollar-mark exchange
rate.
-
OJ 14/7, [1] Handwritten letter from Felix Kornfeld to Jeanette Schenker, dated August 23,
1939
In probably the first such communication since 1910, Felix Kornfeld describes to
his mother, Jeanette Schenker, his current difficult situation, his deportation to a
concentration camp and release, his joblessness and divorce, his son (with photograph), and his
urgent need to emigrate, and asks whether his mother has contacts abroad that could facilitate
this.
-
LC ASC 27/45, [15] Handwritten letter from Moriz Violin to Schoenberg, dated August 24, 1939
Violin reports his progress in contacting people in the Bay Area to whom he
has been given introductions.
-
LC ASC 27/45, [16] Handwritten letter from Moriz Violin to Schoenberg, dated September 21,
1939
Violin expresses misgivings about his situation, and is concerned that his
daughter is in Amsterdam.
-
LC ASC 7/50, [8] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 16,
1940
Schoenberg informs Violin of a conversation he has had with [Robert Emmett]
Stuart about a position that is open [at the St. Louis Institute of Music] for which
Schoenberg would like to recommend him. He asks for the return of the general recommendation
he wrote for Violin earlier.
-
LC ASC 27/45, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26,
1940
Violin acquiesces to applying for the job in St. Louis, despite reservations
about the climate there. He laments the backwardness of San Francisco's musical world. He
admits to being "kept" by his wife.
-
LC ASC 7/50, [10] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 27,
1940
Schoenberg reports a letter that he has received from R. E. Stuart. He detects
that Gottfried Galston will see him as a rival, so advises Violin to write stressing his
primary area as composition. He regrets that he can no longer avoid recommending some of his
own students.
-
LC ASC 27/45, [18] Handwritten letter from Moriz Violin to Schoenberg, dated January 29,
1940
Violin expresses pain that his wife has to do menial work to support them
both. He prefers not to apply for the St. Louis job because he feels Schoenberg was insulted
by Stuart's letter. He hopes to gain entrée to the performance world.
-
LC ASC 7/50, [11] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated February 2,
1940
Schoenberg encloses a letter from St. Louis suggesting that Violin may be
under consideration for the vacant position [in composition], and checks whether Violin
possesses letters from Brahms. — He has written attempting to counter Galston's
influence.
-
LC ASC 27/45, [19] Handwritten letter from Moriz Violin to Schoenberg, dated February 12,
1940
Violin admits that he did not write to the St. Louis Institute of Music when
urged before, but has now done so. He wrote in English. — He reports the correspondence that
he brought with him from Vienna, and that which was lost or stolen on the
way.
-
OJ 70/38, [1] Typewritten letter from R. E. Stuart to Moriz Violin, dated April 2, 1940
The St. Louis Institute of Music does not feel sure enough of Violin's being
given the position in the event of being interviewed, and so wishes to spare him the expense
of travel. It questions whether, as a recently arrived European, he would be able to adapt
to the staff and students.
-
LC ASC 27/45, [20] Handwritten letter from Moriz Violin to Schoenberg, dated April 8, 1940
Violin makes an outraged critique of the rejection letter he has received from
R. E. Stuart. — His daughter, Eva, is now safely in San Francisco.
-
OJ 70/35, [7] Typewritten letter from Schoenberg to Moriz Violin, dated April 9, 1940
Schoenberg tempers Violin's reaction to R. E. Stuart's letter, offering a
sympathetic portrayal of the American character as courteous, unlike the Germans, and
describing the attitude and degree of preparation of American students. All German criteria
are inapplicable.
-
LC ASC 7/50, [13] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 19
1940
Schoenberg asks whether Violin has received a letter from him with a copy of
his twelve-tone composition lecture.
-
LC ASC 27/45, [21] Handwritten letter from Moriz Violin to Schoenberg, dated June 8, 1940
Violin asks Schoenberg to write to Elizabeth Sprague Coolidge recommending him
to play with the Coolidge Quartet.
-
LC ASC 27/45, [22] Handwritten letter from Moriz Violin to Schoenberg, dated October 23,
1940
Violin says that he is completely without work, but is not giving in to
despair.
-
LC ASC 27/45, [23] Handwritten letter from Moriz Violin to Schoenberg, dated December 19,
1940
In sending Christmas greetings, Violin tells Schoenberg that he heard his
Second Chamber Symphony [by radio] from New York. — He speaks of a course that he has been
hired to teach at the Jewish Center, and mentions a second possibility without divulging
details.
-
LC ASC 27/45, [24] Handwritten letter from Moriz Violin to Schoenberg, dated January 16,
1941
Violin reports on his "Music workshop" at the Jewish Center; is reading about
New York; is looking through his letters from Schoenberg from c.1902; reflects on knowledge
versus ignorance; wants to talk with Schoenberg about possibilities for playing in New
York.
-
LC ASC 27/45, [25] Handwritten letter from Moriz Violin to Schoenberg, dated February 8,
1941
Violin expresses joy at the news of the birth of a son to
Schoenberg.
-
LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941
Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on
Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. —
He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of
Music; and he mentions for the first time his plan to found an institute in San
Francisco.
-
LC ASC 27/45, [27] Handwritten letter from Moriz Violin to Schoenberg, dated April 14, 1941
Violin reports encouraging news on his planned "institute," spells out some of
his ideas, and seeks to discuss further with Schoenberg.
-
LC ASC 7/50, [14] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated April 15,
1941
Schoenberg gives his reaction to the description that Violin has given of his
role in Violin's planned "institute."
-
LC ASC 27/45, [28] Handwritten letter from Moriz Violin to Schoenberg, dated May 21, 1941
Violin reports that he has been trying to rescue his sister from Vienna. — He
wants to report to Schoenberg in person how his "institute" ideas are developing.— He asks
for the score of a Schoenberg composition in order to see how the 12-tone method is
implemented. — He asks for answers to recently asked questions. — And he inquires after the
Guggenheim Foundation.
-
OJ 70/1, [1] Handwritten draft letter from Moriz Violin to Mrs. Schwabacher, undated [c. July 10,
1941]
Violin reports – perhsps protests – to Mrs. Schwabacher on his interview with
her agent, Mr. Pettis.
-
LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941
Violin recounts his experience with one of his sponsors and subsequent
interview with her skeptical agent regarding an (unspecified) new project.
-
LC ASC 27/45, [30] Handwritten letter from Moriz Violin to Schoenberg, dated April 5, 1945
Violin conveys his desperation over his job situation, and asks Schoenberg to
write to Pierre Monteux to request an interview.
-
LC ASC 7/50, [15] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated April 10,
1945
Schoenberg has written to Pierre Monteux on behalf of Moriz
Violin.
-
LC ASC 27/45, [31] Handwritten letter from Moriz Violin to Schoenbeg, undated [March? 1949?]
Violin writes of his solitude and despair. He sees that Schoenberg is coming
to San Francisco, and pleads to be allowed to meet with him.
-
OJ 70/35, [8] Typewritten letter from Schoenberg to Moriz Violin, dated April 1, 1949
Schoenberg regrets that he is unable to visit San Francisco on account of
ill-health. He suggests Violin write an article on Schenker's theories for the Musical
Quarterly. He hopes to send Violin his forthcoming book "Style & Idea."
-
LC ASC 7/50, [18] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 8,
1949
Schoenberg regrets that he has had to cancel his visit to San Francisco, as he
has also his trip to Germany for his 75th birthday celebrations. He hopes to be able to
invite Violin soon.
-
LC ASC 27/45, [32] Handwritten letter from Moriz Violin to Schoenberg, undated [September? 17?,
1949]
Having read that Schoenberg did not attend a birthday concert for him in Los
Angeles, Violin asks after his health, anxious not to lose contact. He deplores a speech by
Furtwängler.
-
LC ASC 27/45, [34] Handwritten letter from Moriz Violin to Schoenberg, undated [October 1?,
1949]
Violin reports on a successful performance of a C. P. E. Bach concerto at the
Carmel Bach Festival and on a Music Teacher's Convention in San Francisco.
-
OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten
letter from Schoenberg to Moriz Violin, dated October 14, 1949
Schoenberg sends a copy of his open letter on his 75th birthday, embedded
within a letter in which he expresses pleasure at Violin's report of his Carmel
performance.
-
LC ASC 27/45, [33] Handwritten letter from Moriz Violin to Schoenberg, undated [ late October?,
1949]
Violin writes of his longing for face-to-face communication with
Schoenberg.
-
OJ 70/37, [1] Typewritten letter from Roger Sessions to Moriz Violin, dated December 14,
1949
Roger Sessions proposes that he and Violin meet.
-
LC ASC 27/45, [35] Handwritten letter from Moriz Violin to Schoenberg, dated December 22,
1949
Violin reports on his meeting with Roger Sessions and subsequent invitation to
Christmas Day lunch.
-
LC ASC 27/45, [36] Handwritten letter from Moriz Violin to Schoenberg, undated [ca. January 10,
1950]
Violin inquires whether Schoenberg might agree to serve as a judge in a
composition competition offered by Noel Sullivan.
-
OJ 70/35, [10] Typewritten letter from Schoenberg to Moriz Violin, dated February 4,
1950
Schoenberg declines the invitation by Noel Sullivan to serve as a judge for a
composition prize, and urges Violin to be patient with Sessions.
-
LC ASC 27/45, [37] Handwritten letter from Moriz Violin to Schoenberg, undated [1950]
Violin thanks Schoenberg for his copy of Style & Idea, and comments on it
enthusiastically. He describes himself as a "displaced artist."
-
OJ 71/10a, [1] Typewritten letter (carbon copy) from Heribert Esser to Tomáš Kornfeld, dated April
20, 1988
Esser enquires whether the recipient is related to Jenny
Kornfeld.
-
OJ 71/21a, [2] Typewritten letter from Tomáš Kornfeld to Heribert Esser, dated June 7,
1988
Tomáš Kornfeld gives information about his grandmother Jenny Kornfeld (=
Schenker), his grandfather (Emil), father (Felix) and uncle (Erich), in particular contacts
between his grandmother and father.