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Documents comprising this correspondence:

• OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913

  Hammer approaches Schenker regarding piano lessons for his wife.

• OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]

  Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein grand piano, a Hammerklavier copy, and a clavichord.

• OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]

  Hammer regrets Schenker's refusal to teach his wife.

• OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921

  Hammer owns several of Schenker's books and is beginning to understand their concepts.

• JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

  Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

• JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

  Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

• JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

  Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

• JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

  Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

• OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922

  Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue, raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to visit Schenker in Vienna soon.

• JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922

  Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand.

• OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922

  Hammer thanks Schenker for his letter and generosity, and invites Heinrich and Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.

• JOB 94-3, [3] Handwritten postcard from Schenker to Hammer dated May 29, 1922

  Schenker accepts Hammer's invitation for May 31.

• OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922

  Hammer changes time of Schenker visit.

• JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923

  Schenker alerts Hammer to the publication of Tonwille 3.

• OJ 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923

  Hammer buys all Schenker's publications, including Tonwille, but admits he has difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; — gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's [Entwurf] wrong-headed.

• JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923

  Schenker invites Hammer and his wife for November 7; — The problem of the "middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's proposal to make Tonwille a quarterly publication.

• OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923]

  Hammer sympathizes with the composer's dilemma over middlemen, but points to cases in which the painter has suffered a similar fate.

• OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923

  Hammer thanks Schenker for hospitality on November 7, and recommends Eugen Steinhof for lessons.

• JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923

  Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's reaction to Halm's work, and comments unfavorably on the latter's musicianship, character, and opinions; — he writes disparagingly of Robert Brünauer.

• OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte 1924]

  Hammer refers to the making of a portrait; — he discusses German and Austrian art with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art of the French.

• JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924

  Schenker responds to a long letter from Hammer by, first, agreeing to his proposal to sittings for a portrait, and, second, saying that there is no one in music now capable of judging the artistry of musicians. Schenker feels he has uniquely this ability, but others in music do not understand him.

• OJ 11/37, [2] Printed invitation to the 76th Exhibition, Union of Artists of the Vienna Secession, undated [received February 5, 1924]

  Invitation to an exhibition of works by Leopold Bauer and Victor Hammer

• OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924

  Hammer invites Schenker to a first sitting for his portrait.

• JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924

  Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of the forthcoming historical Beethoven Ninth Symphony concert.

• OJ 11/36, [13] Handwritten postcard from Hammer to Schenker, postmarked May 21, 1924

  Hammer reschedules the next sitting for the portrait.

• OJ 11/36, [15] Handwritten postcard from Hammer to Schenker, dated June 16, 1924

  Hammer invites Schenker to resume sitting for his portrait.

• OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924

  Hammer sets the arrival time for the portrait sitting on June 18.

• JOB 94-3, [9] Handwritten picture postcard from Heinrich and Jeanette Schenker to Hammer, dated July 19 [1924]

  Heinrich and Jeanette send greetings from the Tyrol; they are expecting the Vrieslanders.

• OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925

  Hammer describes his travels and work in the past eight months, and compares the piano playing of Otto Vrieslander with that of Schenker.

• JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925

  Wherever Hammer may travel, Schenker declares, he will never lose his Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an account of the dispute with Universal Edition and the outcome of negotiations with Drei Masken Verlag.

• JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925

  Schenker inquires as to Hammer's whereabouts, referring to a current scandal surrounding the Albertina gallery in Vienna. He asks about "the first print."

• OJ 11/36, [18] Handwritten letter from Hammer to Schenker, dated August 18, 1925

  Hammer enloses a first pull of the mezzotint of Schenker, but expresses dissatisfaction with it. Gives his itinerary.

• JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]

  Heinrich and Jeanette consider the test proof of the Schenker mezzotint finished and urge him to finalize it. Heinrich tells Hammer about Anthony van Hoboken.

• OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925

  Hammer explains why he can't just take the test print of his Schenker mezzotint as the final product. -- He speaks of money difficulties.

• JOB 94-3, [13] Handwritten letter from Schenker to Hammer, dated September 8, 1925

  Heinrich discusses the drawing from which the Schenker mezzotint was made, and its prospects for sale. The Keilgasse house is undergoing deep cleaning.

• JOB 94-3, [14] Handwritten letter from Schenker to Hammer, dated September 9, 1925

  Schenker informs Hammer that the drawing from which the Schenker mezzotint was made has been sold.

• OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925

  Hammer is working on the plate of the Schenker mezzotint.

• OJ 11/36, [21] Handwritten postcard from Hammer to Schenker, dated September 17, 1925

  Hammer asks for a short sitting the next day.

• OJ 11/36, [22] Handwritten postcard from Hammer to Schenker, dated September 17, 1925

  Hammer asks for a short sitting the next day.

• JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5, 1925

  Schenker informs Hammer that he has recommended Otto Vrieslander as the author of a short article about him to accompany the Hammer mezzotint for publication in the journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for Schenker and himself, and detailing arrangements for payment.

• OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925

  Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will convey to Schenker a print from which the printing block of the mezzotint can be made for Die Musik's purposes. -- The Albertina has just purchased one of the proofs.

• JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11, 1925

  Schenker reports that the tube [containing a print of the mezzotint portrait of him, for making a printing block] has been sent to the publisher [of Die Musik], and he now waits to see whether the latter will commission an article to accompany it. He comments on the Albertina's purchase of a print of the portrait.

• JOB 94-3, [17] Handwritten postcard from Schenker to Hammer, dated October 18, 1925

  Schenker quotes Schuster's response acknowledging receipt of the portrait and anticipates publishing it [in Die Musik], perhaps with an accompanying essay.