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Documents comprising this correspondence:

• OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23, 1909

  Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.

• OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12, 1910

  Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for sunshine.

• OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910

  Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic Fantasy are imminent.

• OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated December 9, 1910

  Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich gives his availability and reports on his mother's situation.

• OJ 8/1, [2] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated April 15, 1911

  A jokey message giving the menu of a meal eaten in Pressbaum.

• OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated June 11, 1911

  Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna Woods.

• OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 10, 1911

  Schenker asks why Violin is silent about visiting them.

• OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 22, 1911

  Violin has written an unclear letter: Schenker presses him to say why he isn't coming to visit; and Jenny Kornfeld urges him not to be so poor a correspondent.

• 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, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 8, 1911

  Schenker asks if a letter has arrived at Violin's address, and asks for it to be forwarded to him if so.

• 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, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 5, 1911

  Schenker reports a difficult encounter with "Frau O."; also reports a first victory in Jenny Kornfeld's divorce application.

• OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 27, 1911

  Schenker reports the impossibility of Jenny Kornfeld's defending herself in her divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil Kornfeld.

• 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 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and Moriz Violin, dated July 15, 1919

  (1) Jeanette to Valerie: offers sympathy and reassurance about her illness; describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie: recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to his own proneness to nervous depression; suggests that Valerie recuperate in Zell am See.

• OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17, 1919

  Schenker hopes that colleagues will support Moriz Violin. – The court has favored Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are due for simultanous visits. – He is glad to hear Valerie Violin is better.

• OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921

  Schenker gives an account of the move into Keilgasse 8 and describes his study in the apartment. He outlines his holiday plans, and explains how he is raising the fees for lessons in the autumn.

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

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

• OJ 6/7, [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 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 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 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21, 1923

  In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving health, and goes on to mention a number of personal successes he has lately had, including a visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa solemnis. He has also had some unexpected support from his publisher, who wants to expand Der Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts (three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are overtaking Furtwängler as conductors in Vienna by accepting more modest fees.

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

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

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

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

• OJ 6/7, [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.

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

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

• OJ 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.

• 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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, [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 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 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 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 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.

• 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 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12, 1932

  Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s letter on the subject. He updates Violin on the forthcoming publication of the Fünf Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the sale of the work than it deserves.

• OJ 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.

• 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.

• 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 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 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.

• 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 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933

  Schenker reports that Hoboken has asked to come for coffee, and he has invited him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl Bamberger to Violin and his daughter.

• OJ 6/8, [28] Handwritten letter from Schenker to Violin, dated December 1, 1933

  Schenker is lending Violin a copy of something amusing [a composition by Josef Knettel] sent to him by Reinhard Oppel. He notes that Hans Wolf wants to leave Vienna early for the holidays, but Schenker will insist on being paid in full for the lessons scheduled in December.

• OJ 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.