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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.
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OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28,
1903
Contract for Handel Organ Concertos received; distribution of complimentary
copies of Beitrag zur Ornamentik.
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OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4,
1903
Weinberger will respond re: the Syrian Dances when back.
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OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903
Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice
of work to edit.
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OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23,
1903
UE offers Schenker the arrangement of Handel organ concertos.
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OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated October 30, 1903
Gives the Museum's holdings of Thomson's books of Scottish and Welsh
songs.
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OJ 11/10, [3a] Handwritten picture postcard from Frimmel to Schenker, postmarked [January?] 18,
1903?
Frimmel thanks Schenker for his postcard.
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OJ 11/10, [4] Handwritten postcard from Frimmel to Schenker, dated February 1, 1903
Frimmel expresses pleasure at Schenker's new edition.
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OJ 11/10, [5] Handwritten letter from Frimmel to Schenker, dated August 8, 1903
Commenting on Schenker's edition of C. P. E. Bach keyboard works and Beitrag zur
Ornamentik, Frimmel largely agrees with Schenker's remarks on ornaments.
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OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22,
[1903]
Hellmesberger informs Schenker of the likely tryout date with the Vienna
Philharmonic, and asks him to send the parts of his work punctually.
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OJ 12/7, 6 Handwritten notecard from Kalbeck to Schenker, dated March 9, 1903
Kalbeck invites Schenker to his home.
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OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
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OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
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OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15,
1903?]
Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna
two days later.
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OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21,
1903?]
Schoenberg will visit Schenker the next day.
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OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29,
1903?]
Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4
the next day.
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OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30,
1903?]
Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day.
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OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]
Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to
Busoni.
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OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]
Schoenberg needs to speak with Schenker.
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OJ 14/23, [2] Printed invitation from Seligmann to Schenker, dated January 25, 1903
Printed invitation to the opening of an exhibition of Seligmann’s
paintings.
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OJ 14/23, [3] Handwritten postcard from Seligmann to Schenker, postmarked February 9,
1903
Seligmann asks Schenker to join him and two other players in an evening of
chamber music at his place.
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OJ 14/23, [4] Handwritten postcard from Seligmann to Schenker, dated February 24, 1903
Seligmann informs Schenker that the chamber music planned for the next day
will be held at his own place.
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OJ 14/23, [5] Handwritten postcard from Seligmann to Schenker, postmarked June 30, 1903
Seligmann has been in touch with Ludwig Bösendorfer regarding Schenker’s
application (for a teaching post at the Vienna Conservatory); he also suggests that Schenker
contact Baron Rothschild, concerning a donation to help establish a Lyceum in
Vienna.
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OJ 14/23, [6] Handwritten postcard from Seligmann to Schenker, postmarked July 25, 1903
Seligmann congratulates Schenker on his Beitrag zur Ornamentik, which he finds
excellent. He hopes that Mahler will write him a letter of reference, and believes that
Guido Adler would also assist him in obtaining a teaching post at the Vienna
Conservatory.
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OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or
early autumn 1903]
In this long letter, Seligmann advises Schenker on how to prepare an
application for a teaching post at the Vienna Conservatory: what to include and whom to get
in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a
position at the projected Lyceum in Vienna offers a better prospect and advises enlisting
the help of his patron Baron Rothschild.
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OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14,
1903
In a bleak and formal message, Violin declares that withdrawal of friendship by
the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes
for a peaceable solution.
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OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Weinberger sends the newly copied orchestral parts of Syrian Dance No.
3.
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OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Copying of parts for Syrian Dances is delayed.
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OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903
Weinberger asks for a report on the performance of the Syrian Dances, and for the
return of the orchestral material.
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OJ 15/6, [3] Handwritten postcard from Richard Wahle to Schenker, postmarked January 9,
1903
Wahle is sorry that Schenker seems too busy to see him and tries to arrange a
get-together the following day.
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OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903
Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he
praises its serious intent, but there may be some things about which he would
disagree.
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OJ 6/4, [20] Handwritten envelope from Schenker to Moriz Violin, postmarked January 2,
1903
envelope only
-
OJ 6/4, [21] Handwritten envelope from Schenker to Moriz Violin, postmarked January 9,
1903
envelope only
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OJ 6/4, [22] Handwritten letter from Schenker to Juli Genovefa Violin, dated February 15,
1903
Schenker sends condolences to Moriz Violin's mother on the death of her daughter,
Nina Violin.
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OJ 6/4, [23] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked February 16,
1903
Schenker sends condolences to Violin on the death of his elder sister, Nina
Violin. — He reports on recent activities with Eduard Gärtner and card playing, on the current
Seligmann exhibition, and a recent experience at the Mayerhofer residence.
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OJ 6/4, [25] Handwritten letter from Schenker and others to Moriz Violin, undated [?March
1903]
Schenker sympathizes with Moriz Violin for his dejection, reassures him that he
will become successful, and encourages him to return to Vienna; he tells him of new card games.
— Mrs Irene Mayerhofer and her daughter append brief messages.
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OJ 6/4, [26] Handwritten letter from Schenker to Moriz Violin, undated [? March 1903]
Schenker sees prospects for himself, and believes likewise for Violin. He
supports Violin returning to Vienna.
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OJ 6/4, [27] Handwritten letter from Schenker to Moriz Violin, undated [summer 1903]
Schenker (apparently writing from Gmunden) tries to get Violin to influence
affairs at the Vienna Conservatory. — Schenker is sure the number of professors at the
Conservatory will increase, so considers his own [chance of procuring a professorship] to "have
improved." He is sure transfer to state control (Verstaatlichung) is bound to
happen.
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OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27,
1903
Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about
to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to
check with Eduard Gärtner about financial support for Aron Mittelmann.
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OJ 6/4, [29] Handwritten envelope from Schenker to Moriz Violin, postmarked August 29, 1903
envelope only
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OJ 9/27, [12] Handwritten letter from Busoni to Schenker, dated August 25, 1903
Busoni thanks Schenker for a copy of his edition of C. P. E. Bach keyboard
pieces. Busoni would like to include an orchestrated selection of the Syrische Tänze in his
Berlin concert series next season.
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OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903
Busoni offers three arguments why Schenker should adopt Schoenberg's
orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own
orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He
suggests a change of title to Jüdische Tanzweisen."
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OJ 9/6, [35] Handwritten letter from Eugen d'Albert to Schenker, dated July 18,
1903
Eugen d'Albert agrees to look out for vacant posts suitable for Schenker
while he is in Germany. He hopes to see him at his forthcoming premiere in Prague,
and looks forward his new [C. P. E. Bach keyboard works] edition.
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OJ 9/6, [36] Handwritten postcard from Eugen d'Albert to Schenker, dated November 22,
1903
Eugen d'Albert reports a position vacant in Frankfurt.
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OJ 9/6, [37] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 7,
1903
Eugen d'Albert expresses sympathy for Schenker's
indisposition.
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OJ 9/6, [38] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 30,
1903
Eugen d'Albert needs to see Schenker urgently.
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Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1,
1903?]
Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet
Syrian Dances years earlier, therefore that an orchestral version should be available. He
says, however, that he had from the beginning conceived the pieces in orchestral colors, but
that the orchestration would now take time, so he asks Busoni's preference. He reports that
other music societies have asked to perform works by him.
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Sbb B II 3550 Handwritten letter from Schenker to Busoni, dated August 30, 1903
In response to Busoni's expressed desire to include the Syrische Tänze,
orchestrated, in a concert later in the year, Schenker admits that he would prefer, if
possible, to orchestrate the work himself rather than using the orchestration on which
Schoenberg was currently working.
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Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
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Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9,
1903
Schenker informs Busoni that the Schoenberg orchestrations will reach him by
October 9. He has taken soundings over the suggested title change and now permits Busoni to
go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to
the performance.
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WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903
Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he
hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a
post at the Vienna Conservatory). The writing of it has caused him great anguish, and there
are even more things he wants to say, which would require writing another book, but without
a professorship no one will pay attention to him. He also expresses his desire for female
companionship, to help with his work.