-
JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923
Schenker alerts Hammer to the publication of Tonwille 3.
-
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.
-
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.
-
OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923
Halm has sent the published score of a string quartet to Schenker. —Patronage has
enabled him to publish three volumes of compositions; reports on current and past composition
activities and publications. —Discusses what he has learned from Schenker's theories, and
questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie;
Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that
Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives
further scores. —Halm considers socialism a "historical necessity."
-
OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923
Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata
edition as a Christmas present for Marianne Kahn.
-
OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10,
1923
Schenker offers further advice on performing the "Eroica"
Symphony.
-
OC 82/10 Memorandum of a discussion of the Missa solemnis, dated September 21,
1923
Memorandum of a discussion of the Missa solemnis between Klenau and
Schenker.
-
OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
-
OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923
Dahms has received Vrieslander's essay on Schenker; reports progress on
subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.
-
OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923
Hertzka's excuse for not subscribing; gives summer address; asks ornamentation
question about the "Les adieux" sonata.
-
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
-
OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923
Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.
-
OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
-
OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]
Having sent a subscription copy of Musik des Südens to Moriz Schenker and
received no acknowledgement, Dahms asks Schenker's help.
-
OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923
Dahms has now received acknowledgement from Moriz Schenker. — He asks
Schenker's help in approaching financier Castiglioni for financial backing for his planned
bel canto book.
-
OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923
Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his
book writing, and sends New Year greetings to Heinrich and Jeanette.
-
OJ 11/10, [17] Handwritten postcard from Frimmel to Schenker, dated July 6, 1923
Frimmel makes a word-play on a feuilleton of the same date by Korngold
relating to Sigenfeld.
-
OJ 11/16, [4] Handwritten postcard from Furtwängler to Schenker, undated [October 3, 1923]
Furtwängler proposes that they meet on Thursday [October 4, 1923].
-
OJ 11/16, [5] Handwritten postcard from Furtwängler to Schenker, dated November 25, 1923
Furtwängler had been hoping to speak with Schenker at the performance of
[Handel's] Samson but realizes this is not possible; mentions his December program, hopes to see
Schenker.
-
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
-
OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923
Baroness Fischer gives names and addresses of five of her pupils to whom Der
Tonwille should be sent; she regrets that Schenker will not spread his theory further by
means of lectures.
-
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.
-
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.
-
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 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
-
OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923
Klenau agrees the date and time for his visit to Schenker.
-
OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923
Klenau thanks Schenker for their discussion on September 21.
-
OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923
Klenau asks Schenker questions about the performance of the "Eroica"
Symphony.
-
OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
-
OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923
Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being
unable to visit Schenker and Schenker's being unable to attend his performance of the Missa
solemnis.
-
OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20,
1923
Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks
for suggested pieces to prepare, and for the day and time of her first
lesson.
-
OJ 12/17, [2] Handwritten postcard from Komorn to Schenker, dated October 1, 1923
Mrs. Komorn will turn up for her first lesson as notified.
-
OJ 12/31, [1] Typewritten letter from Ernst Lamberg to Schenker, dated December 7, 1923
Concerning the Sofie Deutsch estate, Lamberg now has 2M Kronen to remit to
Schenker, and also 1.5M Kronen for the January 1924 disbursement of the Deutsch stipends. He
also sets out the arrangement that has been made for the event that the Verein zur Speisung
is dissolved.
-
OJ 12/58, [1] Handwritten letter from Paul Müller to Schenker, dated July 19, 1923
Paul Müller asks Schenker to write a testimonial for his son, Siegfried Fritz,
and expresses satisfaction at the latter's progress.
-
OJ 12/58, [2] Handwritten letter from Paul Müller to Schenker, dated July 20, 1923
Paul Müller thanks Schenker for a testimonial for his son, Siegfried
Fritz.
-
OJ 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12,
1923
Siegfried Fritz Müller asks for a testimonial for a piano teaching
position.
-
OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7,
1923
Siegfried Fritz Müller reports on a recital that he has given, inclosing the
program and early reviews. –- He has just done an audition for the position for which he has
applied. -- He has to do a short period of military service, after which he will continue
his studies with Schenker.
-
OJ 12/59, [4] Handwritten letter from Siegfried Fritz Müller to Schenker, dated November 13,
1923
Siegfried Fritz Müller has a teaching job and reports how it is going. -- He
is studying Schenker's writings. -- He gives an unfavorable reaction to Walter Dahm's book
[Die Offenbarung der Musik: Eine Apotheose Friedrich Nietzsches]. -- He reports Carl
Bamberger's trip to Finland.
-
OJ 13/35, [4] Handwritten letter from Hilde Rubinraut to Schenker, dated January 5,
1923
Hilde Rubinraut reports that she has her permanent Austrian visa. -- She is
pregnant, and will have to defer visits to Vienna for a few weeks.
-
OJ 14/23, [21] Handwritten postcard from Seligmann to Schenker, postmarked February 24,
1923
Seligmann accepts an invitation to the Schenkers’ place for the following
Wednesday (February 28, 1923).
-
OJ 14/23, [22] Handwritten postcard from Seligmann to Schenker, postmarked September 30,
1924
Seligmann thanks Schenker for sending him a copy of Tonwille 7; he would like
to accept the Schenker’s invitation, but must wait for the neuralgia in his leg to
subside.
-
OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.
-
OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923
Violin reports on a brief trip to Berlin for respite from the strain of teaching
and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him
for clarification of a matter concerning second-species counterpoint in two voices, discussed in
volume 1.
-
OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923
Apparently replying to a letter from Schenker (not recorded in his diary), Violin
describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for
the defeatist atmosphere in Germany.
-
OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923
Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by
subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of
staying in Galtür.
-
OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923
Violin has met an industrialist by the name of Max Temming who would be willing
to help make Schenker’s work more widely accessible. Violin will probably not visit the
Schenkers in Galtür this summer, as prices have gone up in Germany.
-
OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923
Violin cannot come to the Tyrol to visit the Schenkers, on account of the
turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but
only for a few days.
-
OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923
In response to Schenker’s recent postcard, Violin reports that his family are
mainly well, but that the political situation in Germany is so depressing that it is almost
impossible to write. He would be glad to have some news from Schenker.
-
OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923
Violin reports the conversion to a new, stable currency in Germany; Hamburg has
been among the first cities to benefit from this, as a result of which he is somewhat better off
and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if
only for a few days; this will give him an opportunity to discuss arrangements for the
distribution of copies of Der Tonwille to libraries and schools.
-
OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923
Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate
soon.
-
OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
-
OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923
Weisse asks Schenker why he and his wife treated him so coldly when they recently
met on the street; he suspects this had something to do with his recent trip to Italy, protests
his innocence but affirms his unchanged love for his teacher.
-
OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
-
OJ 5/45, [4] Handwritten picture postcard from Heinrich and Jeanette Schenker, not mailed, dated
September 13, 1923
The Schenker's record for themselves their visit to Julia Schenker's grave.
-
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 8/4, [20] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 21,
1923
Schenker reports on the publication progress of Der Tonwille, and on his plans to
get his pupils to help him distribute copies to schools and potentially interested readers.
-
OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5,
1923
Schenker asks after Violin and his family, reports on progress with Der Tonwille
and the edition of the Beethoven sonatas.
-
OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26,
1923
Not having heard from him for a long time, Schenker’s asks for news of Violin and
his family.
-
OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11,
1923
Responding to a letter from Violin despairing of the political situation in
Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which
resonate with his own views that German society is, in effect, ruled by foreign despots.
-
OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9,
[1923]
Concerned that Violin has not arrived in Galtür, Schenker asks him if something
has gone amiss with his plans to visit.
-
OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3,
1923
Schenker asks for a few lines from Violin, just to let him know that things are
all right, so that he can send him a longer message.