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Documents comprising this correspondence:

• OJ 10/13, [1] Handwritten letter from Dunn to Schenker, dated April 18, 1926

  Having [mistakenly] been informed that Der freie Satz is out of print, Dunn asks Schenker for help in obtaining a copy.

• OJ 10/13, [2] Handwritten lettercard from Dunn to Schenker, dated May 13, 1926

  Dunn acknowledges a message from Schenker, regrets that Der freie Satz is not yet published, tells of plans for an abbreviated English translation of Kontrapunkt for his pupils at the University of Edinburgh.

• OJ 10/13, [3] Handwritten lettercard from Dunn to Schenker, dated June 27, 1926

  Dunn thanks Schenker for the copy of Meisterwerk 1, reports that an adaptation of the first volume of Schenker’s Counterpoint is complete, and explains how it will be made available in multiple copies.

• OJ 10/13, [4] Handwritten letter from Dunn to Schenker, dated February 1, 1927

  After a long silence, Dunn sends Schenker his abridged translation of Kontrapunkt, vol. 2, Parts III–IV, expresses regret that Hoboken’s illness prevented him from visiting, and hopes that they might meet up in London in June.

• OJ 10/13, [5] Handwritten letter from Dunn to Schenker, dated February 22, 1927

  Dunn thanks Schenker for [Hammer’s] portrait, expresses pleasure at Schenker’s approval of the English adaptation of Kontrapunkt, vol. 2, and intends to translate the “Bridges to Free Composition.”

• OJ 10/13, [6] Handwritten letter from Dunn to Schenker, dated November 14, 1927

  Dunn thanks Schenker for the copy of Meisterwerk 2 sent to him, and comments on the clarity with which Bach’s C minor Fugue (WTC I) is revealed; his musical instincts found confirmation in Schenker’s theories, and after the war he obtained all of Schenker’s books; he proposes that they meet some time, perhaps by making a side-trip from to Austria from Leipzig, where his wife grew up.

• OJ 10/13, [7] Handwritten letter from Dunn to Schenker, dated June 16, 1928

  Dunn sends Schenker greetings on his 60th birthday; his English adaptation is a success, but its impact is limited by the fact that a less enlightened colleague teaches first-year counterpoint. – He outlines his latest work, a study of orchestration from a theoretical point of view, and hopes that he and his wife might visit the Schenkers the following summer.

• OC 30/122-124 Handwritten copy or draft of letter from Schenker to Dunn, in Jeanette Schenker’s hand, dated July 8, 1928

  Schenker thanks Dunn for birthday greetings; welcomes him as a fighter for his cause; discusses the relationship of strict counterpoint to free composition; and declares enthusiasm for Dunn’s forthcoming book on orchestration.

• OJ 10/13, [8] Handwritten letter from Dunn to Schenker, dated December 30, 1930

  Dunn thanks Schenker for sending Meisterwerk 3; he finds himself in complete agreement on the merits of jazz, which he holds responsible for the decline of contemporary music.