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Documents comprising this correspondence:

• OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909

  Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp; reminds of forthcoming attendance at [a recital by] Artur Schnabel.

• OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909

  Schenker must miss seeing an Ibsen play, because the latest batch of proofs of Kontrapunkt I have to be finished.

• OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909

  Schenker is in Steinach, awaiting Moriz Violin's arrival.

• 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.

• OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909

  Schenker leaves Steinach on Sunday [29th].

• OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909

  Schenker on the delusion of progress; epigonism versus progress-art.

• 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.

• OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909

  Schenker proposes program order for forthcoming concert.

• OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909

  Schenker reports a conversation with "G." re conducting the "Kreuzstab" Cantata.

• OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13, 1909

  Schenker and others ask if Violin can obtain free tickets for a Pugno recital.

• OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910

  Schenker will see Violin tomorrow. He has been "pumped" by Robert Hirschfeld.

• OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910

  Schenker suggests they return the due borrowed items to the Archive together.

• OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910

  Schenker gives Violin his opinion, and has a draft letter to show him.

• OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910

  Proofs of the Chromatic Fantasy & Fugue have arrived.

• OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910

  Schenker has sent all materials to Cotta and is about to depart [for Karerpass].

• 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.

• 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.

• OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910

  Schenker has had an ear blockage removed and can hear again.

• 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 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910

  Schenker reports a proposition that Robert Hirschfeld has put to him, and suggests lunch in Vienna.

• 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.

• 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.

• 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.

• OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11, 1911

  Schenker complains that Violin has failed to turn up for an agreed meeting at the right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in the evening.

• 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.

• OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3, 1911

  Schenker complains of Violin's dilatoriness, and asks to meet him..

• 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.

• OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917

  Heinrich and Jeanette are unable to visit. Remarks on parliaments of the regions.

• OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16, 1917

  Schenker requests Moriz's full army address; pressure of work precludes a visit; a parcel has gone astray.

• OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917

  Schenker thinks the worst is over [in World War I]; accepts promised jam.

• 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 8/3, [55] Handwritten postcard from Schenker to Valerie Violin, dated January 6, 1918

  Schenker recounts explosion of gas oven and subsequent activities. Jeanette has transferred things to her apartment and stayed up late to help.

• OJ 8/3, [56] Handwritten postcard from Schenker to Moriz Violin, dated January 31, 1918

  Schenker inquires as to the price of a jar of jam that Valerie Violin brought him and lays down a "no presents" rule; reports Halm's difficulties in obtaining copies of Schenker's works from UE.

• OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5, 1918

  Schenker, Violin alleges, has accused him of a dearth of subject matter in letter writing; Violin defends himself on grounds that his life has been disrupted by military service and the impact of that on his physical and mental state. He accuses Schenker of insensitivity, and treating him like his pupils. He defends his wife for giving food to the Schenkers, and explains her motivation for so doing.

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

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

• 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.

• OJ 8/3, [57] Handwritten postcard from Schenker to Moriz Violin, dated April 7, 1918

  Schenker has implemented the increase in fee, for his pupils, and describes how intolerable life is in Vienna; -- is trying with dificulty to book summer lodgings; -- reports Weisse's declining of the invitation to contribute to the Schenker Festschrift; -- he is working hard on his library.

• OJ 8/3, [58] Handwritten postcard from Schenker to Moriz Violin, dated April 13, 1918

  Schenker reports on Kufferath's article in the Gazette de Lausanne discussing the polemical materials in Die letzten fünf Sonaten ... op. 111, and on the treasonous stance of the Arbeiterzeitung.

• OJ 8/3, [59] Handwritten postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated May 13, 1918

  Schenker thanks Moriz Violin for an address; reports on planned visit to his brother Wilhelm Schenker, and food promised by him and items sent by Felix Hupka; Heinrich and Jeanette expect to spend the summer in Vienna.

• OJ 8/3, [60] Handwritten postcard from Schenker to Moriz Violin, dated July 28, 1918

  Comments on the death of Fritz Wahle and the illness of Eduard Gärtner; is trying to negotiate the summer in the Tyrol, but may not succeed; congratulates Violin.

• OJ 8/3, [61] Handwritten postcard from Schenker to Moriz Violin, dated August 21, 1918

  The Schenkers went to Mariazell on the 16th for a work-free vacation. - - Schenker has had difficulties with Wilhelm and Moriz Schenker. - - He describes visit to Hupka in Kapuvár (Hungary). - - Comments on Violin's forthcoming promotion to Lieutenant.

• 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.

• OJ 8/3, [65] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 17, 1919

  Rhyming joke

• OJ 8/3, [66] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 13, 1919

  Discusses Violin's prospects of returning to the Vienna Conservatory now that its president is leaving.

• OJ 8/3, [67] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 24, 1919

  Notification of the restaurant at which the Schenkers now eat; Paul de Conne is hoping to return to the Vienna Conservatory, too.

• OJ 8/3, [68] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 2, 1919

  Schenker inquires again after Moriz, Valerie, and the latter's health. He is expecting visits from Dahms and Weisse.

• OJ 8/3, [69] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 31, 1919

  Heinrich and Jeanette have official permission to remain at Schloß Tantalier until September 15. -- They have been exhausted by the visits of Weisse and Dahms. -- Weisse [meanness] contrasts instructively with Dahms [generosity].

• OJ 8/3, [70] Handwritten double-postcard from Heinrich Schenker and Jeanette Kornfeld (Schenker) to Moriz and Valerie Violin, dated September 25, 1919

  (1) Heinrich to Moriz: draws Moriz Violin's attention to an article in Der Merker; (2) Jeanette to Valerie: needs to buy a suit, and asks advice as to where.

• OJ 8/3, [71] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 19, 1919

  Banns of marriage have been posted; looking forward to visiting.

• OJ 8/3, [72] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 2, 1919

  The [wedding] date will be fixed next Wednesday; the engravings on the two rings. – They are due at Furtwängler's concert, but cannot commit to any other times.

• OJ 8/3, [73] Handwritten postcard from Heinrich Schenker to Moriz Violin, December 15, 1919

  Schenker reports on his meeting with Emil Hertzka and the latter's offers on Die letzten fünf Sonaten ... op. 101 and the Kleine Bibliothek, about which Schenker wishes to talk with Violin.

• OJ 8/3, [74] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated December 30, 1919

  One postcard and one letter to Violin have come back undelivered; indignation at post office's incompetence.

• OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920

  Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm has been taken ill.

• OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920

  Schenker asks Violin to inquire about availability of the apartment of one of the Rosé String Quartet members.

• OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920

  Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.

• OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920

  Tonschl's report on conversation with Moriz Schenker, and advice.

• OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920

  Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. — Meeting with Hertzka scheduled for next day.

• OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920

  Schenker inquires about Furtwängler, and reports progress with Hertzka.

• OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920

  Schenker writes scathingly about his brother Moriz's attitude to Schenker's problems.

• OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14, 1920

  The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit them?

• OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July 30, 1920

  Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has failed, and complains about the corrupt circumstances.

• OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920

  Gives date of return to Vienna, and confirms Tuesday meeting.

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

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

• OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated, postmarked [October] 17, 1920

  The Schenkers are unable to visit Wally this Sunday, but will do so the following Sunday.

• OJ 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921

  Schenker asks Violin to arrange for payments and currency conversion.

• OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921

  Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports on progress on his written work and publications.

• OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921

  Schenker accepts an invitation to lunch from Valerie Violin.

• OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated February 26, 1921

  Schenker inquires about a series of payments from Miss Reich for lessons.

• OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921

  Schenker describes some of the last-minute activities prior to their moving to a new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.

• OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated June 30, 1921

  On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker composes two short verses in local dialect, and Jeanette a third, to convey something of the Tyrolean atmosphere.

• OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921

  In anticipation of preparing an edition of Handel's keyboard works, Schenker asks Violin for the address of a library in Hamburg that would be likely to have an early print or handwritten copy of Handel's first book of Suites.

• OC 24/4-5 Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 3, 1921

  Violin expresses his awe concerning the first issue of Der Tonwille, and declares himself ready to offer his services in making Schenker's work better understood.

• 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.

• OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921

  Schenker alerts Violin to the imminent arrival of a payment.

• OJ 14/45, [105] Handwritten postcard from Moriz Violin to Heinrich Schenker, dated October 6, 1921

  Violin acknowledges receipt of payment, inquires about reviews of Der Tonwille.

• 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 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 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922

  Schenker apologizes for not having been in touch with Violin, mainly owing to overwork and a severe diabetic reaction, which required medical attention. He reports on a new series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to undertake.

• 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 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]

  Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens Hertzka's heavy-handedness to Prince Metternich's police-state tactics.

• OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922

  Schenker reports the publication of the second part of Kontrapunkt and continued difficulties with Universal Edition.

• 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 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922

  Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin as one which ought to have important consequences for the course of music.

• 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 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922

  Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy, then reports on his financial troubles. His application for a post at the University of Leipzig was received without enthusiasm, on the grounds that he is "more an artist than a scholar."

• OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

  Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute.

• OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

  Apparently having returned from a visit to Vienna, Violin expresses his joy at having seen Schenker recently.

• OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922

  Schenker reports, among other things, that Hans Weisse has returned as a paying pupil.

• OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922

  Violin points out that Universal Edition is advertising Schoenberg's Harmonielehre but not Schenker's.

• 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 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922

  Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to silence the throng that worships Schoenberg and the moderns, but money for it is lacking.

• OJ 8/4, [20] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 21, 1923

  Schenker reports on the publication progress of Der Tonwille, and on his plans to get his pupils to help him distribute copies to schools and potentially interested readers.

• 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 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5, 1923

  Schenker asks after Violin and his family, reports on progress with Der Tonwille and the edition of the Beethoven sonatas.

• OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26, 1923

  Not having heard from him for a long time, Schenker’s asks for news of Violin and his family.

• 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 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923

  Apparently replying to a letter from Schenker (not recorded in his diary), Violin describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for the defeatist atmosphere in Germany.

• OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923

  Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots.

• 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 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923

  Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of staying in Galtür.

• 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 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 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9, [1923]

  Concerned that Violin has not arrived in Galtür, Schenker asks him if something has gone amiss with his plans to visit.

• OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923

  Violin cannot come to the Tyrol to visit the Schenkers, on account of the turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but only for a few days.

• OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3, 1923

  Schenker asks for a few lines from Violin, just to let him know that things are all right, so that he can send him a longer message.

• OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923

  In response to Schenker’s recent postcard, Violin reports that his family are mainly well, but that the political situation in Germany is so depressing that it is almost impossible to write. He would be glad to have some news from Schenker.

• 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 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.

• 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.

• 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 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 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]

  Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently.

• OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]

  Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.

• 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 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924

  Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the Violins to visit them some time during their Austrian holiday, and shows them, on the picture, the mountain pass where they can meet up.

• OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924

  Schenker sends a greeting on the occasion of the Violins' return to Hamburg after their holiday in Austria, writing a picture postcard showing the cottage where they presumably went for a meal.

• OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz Violin, undated [postmarked August 12, 1924]

  In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto Vrieslander, all express their regret that the Violins could not be with them.

• OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924

  Violin thanks Schenker for his recent postcard, and reports that he will resume negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the latter return to Hamburg.

• 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.

• 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.

• 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.

• 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.

• 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 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.

• 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.

• 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.

• 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.

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

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

• OJ 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.

• 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.

• OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14, 1925

  Schenker asks Violin urgently to send him the receipt for payment made to Universal Edition (for the copies of Der Tonwille paid for by Max Temming).

• 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.

• OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24, 1925

  Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes to see Schenker if at all possible.

• OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925

  Violin sends Schenker receipts for the purchase of Der Tonwille.

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

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

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

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

• OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925

  Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with his likeness (designed by Alfred Rothberger).

• 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 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.

• 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 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925

  Schenker asks Violin to write to one of the German university music departments who received subscriptions to Der Tonwille through the generosity of Max Temming, to find out if, and when, they received Tonwille 10, which was published in January. He reports being on the verge of completing the first Meisterwerk Yearbook.

• 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 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925

  Schenker thanks Violin for his most recent efforts concerning the subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in January 1925, did not reach some subscribers until June. He hopes that Violin will be able to visit him in the Tyrol this summer, as he is expecting Vrieslander with his son.

• 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.

• OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925

  Unable to leave Hamburg this summer because of financial difficulties, but having nothing worth saying in a letter, Violin asks for some news from Schenker.

• 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 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked August 27, 1925

  Schenker sends greetings from the Tyrol, reports the publication of an article on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's bronze medallion.

• 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.

• 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.

• 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.

• OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925

  Violin gives Schenker the program of his concerts with van den Berg and Buxbaum.

• OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925

  Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg.

• 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 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.

• 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.

• OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926

  Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of 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.

• 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.

• OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926

  Violin thanks Schenker for Hammer's excellent portrait of him, which has finally arrived.

• 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.

• OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926

  Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia.

• OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926

  Schenker expresses his pleasure that the Violins are on holiday in Badgastein; he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which his publishers seem slow to dispatch, and whether he has further plans to give piano trio concerts.

• 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.

• 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.

• 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.

• 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.

• OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10, 1926

  Schenker enquires about the health of Violin and his son Karl. He has received a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in his works, including the Urlinie; he has responded politely but candidly.

• 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.

• 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 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.

• 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.

• 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.

• OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26, 1927

  Responding to a request from Violin, Schenker says he will write to Paul von Klenau on behalf of Violin, apparently in connection with a possible position in Frankfurt.

• OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927

  Schenker is about to write to Paul von Klenau on Violin's behalf, but asks whether he should wait until Easter, as suggested in Violin's previous letter.

• 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.

• OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27, 1927

  Schenker has written to Paul von Klenau on Violin's behalf, and received an assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had originally thought) but thinks that Artur Schnabel will be more influential. Klenau will visit the Schenkers on Saturday.

• OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927

  In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he finds appalling.

• 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 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927

  In a reply to a recent letter, Violin thanks Schenker for the news concerning the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover what the people in Frankfurt think of him as a candidate.

• 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.

• OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927

  Schenker explains that what he is doing behind the scene to assist Violin in obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich Simon.

• 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 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.

• 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.

• 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 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 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.

• OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927

  Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr. Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has received little information in return. the second volume of Meisterwerk will be published very soon.

• 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 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927

  Schenker congratulates Violin on obtaining many private pupils, and for his continued activity as a performer. He expresses his joy that Violin's son Karl will be visiting Vienna next year.

• 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 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 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928

  The Schenkers invite Violin to an evening meal at their apartment.

• 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 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 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3, 1928

  Schenker asks Violin to write to Fritz Stein, to ask him to return one of his arrangements of a musical work.

• 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 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928

  Schenker asks about Violin's breakdown, and comments on Halm's avoidance of fearful situations and on Cube's shop window exhibition.

• OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25, 1928

  Writing to the sanatorium in the Harz mountains, Schenker ask Violin how things are with him.

• OJ 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5, 1928

  Having just returned from the Tyrol, Schenker asks how Violin and his family. He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has prepared for his lectures.

• 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 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928

  Schenker is glad to hear that his friend's setback was only a minor one. He has received a nice letter from Harry Hahn, together with a copy of his lecture and the splendid voice-leading diagrams.

• OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22, 1928

  The large-format graphs prepared by Harry Hahn have been greeted enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light projection apparatus" (i.e. an overhead projector), which is now often available in schools and hospitals, might be more practical.

• 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 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22, 1928

  The Schenkers send the Violins their best wishes.

• 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.

• 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 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 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 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929

  Schenker assures Violin that there is no friction whatever between his sister Fanny and himself; he looks forward to seeing him in the summer.

• 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.

• OJ 14/45, [114] Handwritten picture postcard from Moriz and Karl Violin to Schenker, undated, postmarked July 16, [1929]

  Violin and his son have taken a bus to Brocken in the Harz mountains, the highest point in northern Germany.

• 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.

• 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 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.

• 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.

• 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 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 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 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.

• 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.

• OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930

  Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In the fall, he will have to make a decision about what to do about his son.

• 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.

• 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.

• 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 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.

• 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.

• 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.

• 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.

• OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2, 1930

  Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's help, is hoping for an appointment in Berlin.

• OJ 14/45, [116] Handwritten picture postcard from Moriz Violin and others to Schenker, undated, c. December 10, 1930

  Moriz Violin, Hans Weisse, Anthony van Hoboken, Oswald Jonas and Felix Salzer send greetings to Schenker, following Weisse's lectures in Berlin.

• 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 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28, 1931

  Schenker has heard about Violin’s letter to Weisse [concerning the founding of a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be possible to teach composition only after Free Composition has been published.

• 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 8/5, [3] Handwritten picture postcard from Schenker to Violin, dated March 14, 1931

  Schenker expresses his delight that Violin will soon be coming to Vienna.

• 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 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 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6, 1931

  Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das Meisterwerk 3, and Weisse will continue to seek the funds for Der freie Satz.

• 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 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13, [1931]

  Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the current issue of Die Musik, which has raised his standing in the world.

• 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 8/5, [6] Handwritten picture postcard from Schenker to Violin, dated July 24, 1931

  Schenker expresses his astonishment at what the Violin family has had to endure, and thanks him for the Schenker Institute prospectus.

• 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 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 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 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.

• 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 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27, 1931

  Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg, Schenker observes that there are many fewer conservatory students in Vienna, and also in Berlin, because music teachers earn so little.

• 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.

• OJ 8/5, [10] Handwritten picture postcard from Schenker to Violin, postmarked May 12, 1932

  Schenker expresses his joy at Violin’s forthcoming trip to Vienna and thanks him for a clipping about C. P. E. Bach and the city of Hamburg.

• 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.

• 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 8/5, [11] Handwritten postcard from Schenker to Violin, dated September 1, 1932

  Schenker reports that Der freie Satz is finished, apart from the final draft of the manuscript.

• OJ 8/5, [12] Handwritten postcard from Schenker to Violin, dated November 7, 1932

  Schenker reports that Joseph Marx wants to adopt a revised version of his Harmonielehre for the students at the Akademie für Musik und darstellende Kunst in Vienna.

• 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.

• 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.

• 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.

• 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.

• 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.

• OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933

  Schenker reports reading a newspaper article in which Arnold Schoenberg was not offered a post at the Vienna Academy, and draws from it a parallel with Violin and himself.

• OJ 8/5, [16] Handwritten postcard from Schenker to Violin, dated February 26, 1933

  Schenker reports on Hans Weisse’s phenomenal success as a teacher in New York, and complains about Joseph Marx’s duplicitous behavior.

• 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 8/5, [17] Handwritten postcard from Schenker to Violin, postmarked April 28, 1933

  Schenker reports that his article „Was wird aus der Musik?“ has just been published in the Deutsche Allgemeine Zeitung.

• 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.

• 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.

• 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 8/5, [18] Handwritten picture postcard from Schenker to Violin, dated September 1, 1933

  Schenker sends a postcard from Mönichkirchen am Wechsel, where he and Jeanette are stopping over en route from holidaying in Lower Austria, to say that he will get in touch with Violin when he returns to Vienna.

• OJ 8/5, [19] Handwritten postcard from Schenker to Violin, postmarked September 15, 1933

  Schenker explains to Violin the terms under which he will accept Hans Wolf and Miss Weber as pupils during the 1933–34 teaching year, setting out his core theory curriculum and demanding two lessons per week.

• OJ 8/5, [20] Handwritten postcard from Schenker to Violin, dated September 26, 1933

  Schenker has just given Hans Wolf a lesson, and insists on a full program of tuition for him at a decent rate of pay. He reports that Vrieslander is writing a book about him, and says that he will give him a copy of Jonas’s recent article when he next sees him. He has written a letter to Alfred Weissberger on his friend’s behalf.

• OJ 8/5, [21] Handwritten postcard from Schenker to Violin, dated October 8, 1933

  Schenker inquires after Violin, from whom he has not heard for some time. He reports that Hoboken is in France but will return at the end of the month to resume lessons.

• OJ 8/5, [22] Handwritten postcard from Schenker to Violin, dated October 25, 1933

  Schenker reports that Ludwig Karpath has been lying, and that six new appointments have already been made at the Vienna Academy. His new pupil, Hans Wolf, is thirsting after Urlinie analysis, which Schenker has to resist.

• OJ 8/5, [23] Handwritten postcard from Schenker to Violin, dated October 27, 1933

  Schenker has worked out a lesson plan that leaves him free on Wednesday afternoon, a time he would like to reserve for visits from Violin and his family; but his friend should feel free to turn up at other times.

• OJ 8/5, [24] Handwritten postcard from Schenker to Violin, dated November 6, 1933

  A new housemaid has meant some disruption to the routine in the Schenkers’ apartment, and a visit has to be rearranged; Hoboken is returning to Vienna.

• 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 8/5, [25] Handwritten postcard from Schenker to Violin, postmarked November 27, 1933

  In a message deprecating Hoboken’s character, Schenker believes that Hoboken (the “wandering Dutchman") is trying to stretch out his tuition by paying social calls with his wife outside lesson times; he likes Vienna because the cost of living is lower than in Holland.

• 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 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 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 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.