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Documents comprising this correspondence:

• OJ 70/35, [1] Handwritten postcard from Schoenberg to Moriz Violin, undated, postmarked March 9, 1902

  Schoenberg asks Violin to arrange the next day's reheasal.

• LC ASC 27/45, [1] Handwritten letter from Moriz Violin to Schoenberg, dated March 26, 1902

  Violin has attended the successful premiere of Schoenberg's Verklärte Nacht, and wishes to talk with him in person, apparently rather than sending a written report. Violin speaks in strong terms of certain people, presumably in Wolzogen's Buntes Theater in Berlin.

• OJ 70/35, [2] Handwritten letter from Schoenberg to Moriz Violin, dated April 10, 1902

  Schoenberg rarely goes to the [Buntes] Theater. He insists on receiving a report from Violin on a performance of his Verklärte Nacht.

• LC ASC 27/45, [2] Handwritten notecard with envelope from Moriz Violin to Schoenberg, dated February 26, 1903

  Violin is too unwell to meet Schoenberg and say "Adieu", and hopes for a meeting on September 1.

• OJ 70/35, [3] Handwritten postcard from Schoenberg to Moriz Violin, dated February 21, 1904

  Since none of his [Op. 6?] songs is for female voice, Schoenberg decides not to send them to Violin.

• OJ 70/35, [4] Handwritten letter from Schoenberg to Moriz Violin, dated April 5, 1904

  Schoenberg asks for Violin's withdrawal from the Vereinigung schaffender Tonkünstler in writing, and indicates that he cnnot understand it.

• LC ASC 27/45, [2a] Handwritten letter from Moriz Violin to Schoenberg, dated January 13, 1919

  Violin urgently asks to meet.

• LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938

  Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco, and advise him on possibilities there.

• LC ASC 7/50, [1] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 2, 1938

  Schoenberg reflects on his own relationship with Heinrich Schenker. — He is willing to write a recommendation to Hertz for Violin and asks to whom to send it, and warns Violin that it will not be easy to establish himself in San Francisco.

• LC ASC 27/45, [4] Handwritten letter from Moriz Violin to Schoenberg, dated June 11, 1938

  Violin seeks an affidavit to emigrate and asks Schoenberg's help in achieving this. He would like to move to San Francisco.

• OJ 70/26, [1] Handwritten letter from Willem Mengelberg to Eva Violin, dated June 23, 1938

  Mengelberg is unable to help Moriz and Eva Violin directly in obtaining positions in America, but encloses a letter of recommendation to Julia Steinway for Moriz.

• LC ASC 7/50, [2] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin and others, dated July 30, 1938

  Schoenberg notifies Violin and two others that each may receive an affidavit in the near future [for emigration to the USA].

• LC ASC 27/45, [5] Handwritten letter from Moriz Violin to Schoenberg, dated August 10, 1938

  Violin provides Schenker with details of his wife and himself.

• OJ 70/35, [5] Handwritten letter from Schoenberg to Moriz Violin, dated December 23, 1938

  Schoenberg has asked a rabbi to produce an affidavit, and offers this to Violin in advance of receiving it.

• LC ASC 27/45, [6] Handwritten letter from Moriz Violin to Schoenberg, dated January 17, 1939

  Violin informs Schoenberg that he already has his affidavit, and thanks him for his attempts. He asks Schoenberg for letters of recommendation for San Francisco.

• LC ASC 7/50, [3] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated March 2, 1939

  Schoenberg is pleased that Violin has his affidavit, is happy to write recommendations for him in San Francisco, and looks forward to seeing him in person soon.

• LC ASC 27/45, [7] Handwritten letter from Moriz Violin to Schoenberg, dated May 17, 1939

  Violin has been ill for three months, and is due to sail on May 27 arriving New York June 5. He asks about the cost of travel from Los Angeles, where he hopes to stay en route, to San Francisco, and gives a temporary address in New York.

• LC ASC 7/50, [4] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated June 6, 1939

  Schoenberg writes to Violin in New York, advises him on the trip to San Francisco via Los Angeles, and hopes to be able to accommodate him/them in Los Angeles. — He regrets his powerlessness [over the affidavit].

• LC ASC 27/45, [8] Handwritten letter from Moriz Violin to Schoenberg, dated June 13, 1939

  Violin comments on American red tape. He has had to give the addresses of his supporters and asks Schoenberg to provide a testimonial if asked; and expresses gratitude for the Schoenbergs' offer of hospitality in Los Angeles.

• LC ASC 27/45, [9] Handwritten letter from Moriz Violin to Schoenberg, dated June 20, 1939

  Violin asks Schoenberg to write to the refugee committee in San Francisco. He will let him know his arrival time.

• OJ 70/71, [2] Typewritten letter of recommendation from Schoenberg to the Coordinating Committee for German Refugees, San Francisco, dated June 21, 1939

  Schoenberg letter of recommendation to the Coordinating Committee for German Refugees in San Francisco.

• LC ASC 27/45, [10] Handwritten postcard from Moriz Violin to Schoenberg, dated July 7, 1939

  Violin informs Schoenberg of his route from New York to California.

• LC ASC 27/45, [11] Handwritten notecard from Moriz Violin to Schoenberg, dated July 19, 1939

  Violin thanks the Schoenbergs for their hospitality, and promises his c.v. shortly.

• LC ASC 27/45, [12] Handwritten coverletter from Moriz Violin to Schoenberg, dated July 20, 1939

  Covering letter or note to Violin's c.v. [LC ASC 27/45, [13], including list of names.

• LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20, 1939]

  Violin's curriculum vitae.

• LC ASC 7/50, [6] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated July 21, 1939

  Schoenberg has written a letter of introduction and modified Violin's draft c.v., explains how he has done the latter, and advises Violin what to do with the materials. — He asks advice on how to get the best exchange rate for Mark/Dollar.

• LC ASC 27/45, [14] Handwritten letter from Moriz Violin to Schoenberg, dated July 24, 1939

  Violin tries to express his debt to Schoenberg for recent help. — He advises Schoenberg on how to transfer money at half the standard dollar-mark exchange rate.

• LC ASC 27/45, [15] Handwritten letter from Moriz Violin to Schoenberg, dated August 24, 1939

  Violin reports his progress in contacting people in the Bay Area to whom he has been given introductions.

• LC ASC 27/45, [16] Handwritten letter from Moriz Violin to Schoenberg, dated September 21, 1939

  Violin expresses misgivings about his situation, and is concerned that his daughter is in Amsterdam.

• LC ASC 7/50, [8] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 16, 1940

  Schoenberg informs Violin of a conversation he has had with [Robert Emmett] Stuart about a position that is open [at the St. Louis Institute of Music] for which Schoenberg would like to recommend him. He asks for the return of the general recommendation he wrote for Violin earlier.

• LC ASC 7/50, [9] Handwritten telegram draft from Schoenberg to Moriz Violin, dated January 23, 1940

  Schoenberg has wrongly addressed LC ASC 7/50, [8] and asks Violin to check with the Post Office to recover the letter.

• LC ASC 27/45, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26, 1940

  Violin acquiesces to applying for the job in St. Louis, despite reservations about the climate there. He laments the backwardness of San Francisco's musical world. He admits to being "kept" by his wife.

• LC ASC 7/50, [10] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 27, 1940

  Schoenberg reports a letter that he has received from R. E. Stuart. He detects that Gottfried Galston will see him as a rival, so advises Violin to write stressing his primary area as composition. He regrets that he can no longer avoid recommending some of his own students.

• LC ASC 27/45, [18] Handwritten letter from Moriz Violin to Schoenberg, dated January 29, 1940

  Violin expresses pain that his wife has to do menial work to support them both. He prefers not to apply for the St. Louis job because he feels Schoenberg was insulted by Stuart's letter. He hopes to gain entrée to the performance world.

• LC ASC 7/50, [11] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated February 2, 1940

  Schoenberg encloses a letter from St. Louis suggesting that Violin may be under consideration for the vacant position [in composition], and checks whether Violin possesses letters from Brahms. — He has written attempting to counter Galston's influence.

• LC ASC 27/45, [19] Handwritten letter from Moriz Violin to Schoenberg, dated February 12, 1940

  Violin admits that he did not write to the St. Louis Institute of Music when urged before, but has now done so. He wrote in English. — He reports the correspondence that he brought with him from Vienna, and that which was lost or stolen on the way.

• OJ 70/38, [1] Typewritten letter from R. E. Stuart to Moriz Violin, dated April 2, 1940

  The St. Louis Institute of Music does not feel sure enough of Violin's being given the position in the event of being interviewed, and so wishes to spare him the expense of travel. It questions whether, as a recently arrived European, he would be able to adapt to the staff and students.

• LC ASC 27/45, [20] Handwritten letter from Moriz Violin to Schoenberg, dated April 8, 1940

  Violin makes an outraged critique of the rejection letter he has received from R. E. Stuart. — His daughter, Eva, is now safely in San Francisco.

• OJ 70/35, [7] Typewritten letter from Schoenberg to Moriz Violin, dated April 9, 1940

  Schoenberg tempers Violin's reaction to R. E. Stuart's letter, offering a sympathetic portrayal of the American character as courteous, unlike the Germans, and describing the attitude and degree of preparation of American students. All German criteria are inapplicable.

• LC ASC 7/50, [13] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 19 1940

  Schoenberg asks whether Violin has received a letter from him with a copy of his twelve-tone composition lecture.

• LC ASC 27/45, [21] Handwritten letter from Moriz Violin to Schoenberg, dated June 8, 1940

  Violin asks Schoenberg to write to Elizabeth Sprague Coolidge recommending him to play with the Coolidge Quartet.

• LC ASC 27/45, [22] Handwritten letter from Moriz Violin to Schoenberg, dated October 23, 1940

  Violin says that he is completely without work, but is not giving in to despair.

• LC ASC 27/45, [23] Handwritten letter from Moriz Violin to Schoenberg, dated December 19, 1940

  In sending Christmas greetings, Violin tells Schoenberg that he heard his Second Chamber Symphony [by radio] from New York. — He speaks of a course that he has been hired to teach at the Jewish Center, and mentions a second possibility without divulging details.

• LC ASC 27/45, [24] Handwritten letter from Moriz Violin to Schoenberg, dated January 16, 1941

  Violin reports on his "Music workshop" at the Jewish Center; is reading about New York; is looking through his letters from Schoenberg from c.1902; reflects on knowledge versus ignorance; wants to talk with Schoenberg about possibilities for playing in New York.

• LC ASC 27/45, [25] Handwritten letter from Moriz Violin to Schoenberg, dated February 8, 1941

  Violin expresses joy at the news of the birth of a son to Schoenberg.

• LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941

  Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. — He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of Music; and he mentions for the first time his plan to found an institute in San Francisco.

• LC ASC 27/45, [27] Handwritten letter from Moriz Violin to Schoenberg, dated April 14, 1941

  Violin reports encouraging news on his planned "institute," spells out some of his ideas, and seeks to discuss further with Schoenberg.

• LC ASC 7/50, [14] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated April 15, 1941

  Schoenberg gives his reaction to the description that Violin has given of his role in Violin's planned "institute."

• LC ASC 27/45, [28] Handwritten letter from Moriz Violin to Schoenberg, dated May 21, 1941

  Violin reports that he has been trying to rescue his sister from Vienna. — He wants to report to Schoenberg in person how his "institute" ideas are developing.— He asks for the score of a Schoenberg composition in order to see how the 12-tone method is implemented. — He asks for answers to recently asked questions. — And he inquires after the Guggenheim Foundation.

• OJ 70/1, [1] Handwritten draft letter from Moriz Violin to Mrs. Schwabacher, undated [c. July 10, 1941]

  Violin reports – perhsps protests – to Mrs. Schwabacher on his interview with her agent, Mr. Pettis.

• LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941

  Violin recounts his experience with one of his sponsors and subsequent interview with her skeptical agent regarding an (unspecified) new project.

• LC ASC 27/45, [30] Handwritten letter from Moriz Violin to Schoenberg, dated April 5, 1945

  Violin conveys his desperation over his job situation, and asks Schoenberg to write to Pierre Monteux to request an interview.

• LC ASC 7/50, [15] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated April 10, 1945

  Schoenberg has written to Pierre Monteux on behalf of Moriz Violin.

• LC ASC 7/50, [16] Typewritten lettercard (carbon copy) from Schoenberg to Moriz Violin, dated May 3, 1945

  Schoenberg follows up on his previous (unanswered) letter.

• LC ASC 27/45, [31] Handwritten letter from Moriz Violin to Schoenbeg, undated [March? 1949?]

  Violin writes of his solitude and despair. He sees that Schoenberg is coming to San Francisco, and pleads to be allowed to meet with him.

• OJ 70/35, [8] Typewritten letter from Schoenberg to Moriz Violin, dated April 1, 1949

  Schoenberg regrets that he is unable to visit San Francisco on account of ill-health. He suggests Violin write an article on Schenker's theories for the Musical Quarterly. He hopes to send Violin his forthcoming book "Style & Idea."

• LC ASC 7/50, [18] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 8, 1949

  Schoenberg regrets that he has had to cancel his visit to San Francisco, as he has also his trip to Germany for his 75th birthday celebrations. He hopes to be able to invite Violin soon.

• LC ASC 27/45, [32] Handwritten letter from Moriz Violin to Schoenberg, undated [September? 17?, 1949]

  Having read that Schoenberg did not attend a birthday concert for him in Los Angeles, Violin asks after his health, anxious not to lose contact. He deplores a speech by Furtwängler.

• LC ASC 27/45, [34] Handwritten letter from Moriz Violin to Schoenberg, undated [October 1?, 1949]

  Violin reports on a successful performance of a C. P. E. Bach concerto at the Carmel Bach Festival and on a Music Teacher's Convention in San Francisco.

• OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten letter from Schoenberg to Moriz Violin, dated October 14, 1949

  Schoenberg sends a copy of his open letter on his 75th birthday, embedded within a letter in which he expresses pleasure at Violin's report of his Carmel performance.

• LC ASC 27/45, [33] Handwritten letter from Moriz Violin to Schoenberg, undated [ late October?, 1949]

  Violin writes of his longing for face-to-face communication with Schoenberg.

• OJ 70/37, [1] Typewritten letter from Roger Sessions to Moriz Violin, dated December 14, 1949

  Roger Sessions proposes that he and Violin meet.

• LC ASC 27/45, [35] Handwritten letter from Moriz Violin to Schoenberg, dated December 22, 1949

  Violin reports on his meeting with Roger Sessions and subsequent invitation to Christmas Day lunch.

• LC ASC 27/45, [36] Handwritten letter from Moriz Violin to Schoenberg, undated [ca. January 10, 1950]

  Violin inquires whether Schoenberg might agree to serve as a judge in a composition competition offered by Noel Sullivan.

• OJ 70/35, [10] Typewritten letter from Schoenberg to Moriz Violin, dated February 4, 1950

  Schoenberg declines the invitation by Noel Sullivan to serve as a judge for a composition prize, and urges Violin to be patient with Sessions.

• LC ASC 27/45, [37] Handwritten letter from Moriz Violin to Schoenberg, undated [1950]

  Violin thanks Schoenberg for his copy of Style & Idea, and comments on it enthusiastically. He describes himself as a "displaced artist."