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DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
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DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
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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.
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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.
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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.
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OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
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OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1,
1924
Halm attacks Schenker for condemning Berlioz's melodic practice without
substantiating his argument, and for harsh language. Halm compares Berlioz favorably to
Mendelssohn.
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OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6,
1924]
Halm again asks Schenker to point out an instance of non-genius in his [Halm's]
music. — Has long believed that foreground (= corporeality) has been neglected at the expense of
background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. —
Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major]
String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of
assistance with publication costs. — Comments on Reger.
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OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
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OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated
November 27, 1924
Having had soundings from Otto Vrieslander about taking over the publishing of
Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an
agreement with Universal Edition about the the future of the publication.
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OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924
Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal
Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the
new venture.
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OC 54/4 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated
December 9, 1924
Drei Masken Verlag acknowledge the receipt of Schenker’s letter of December 5,
1924.
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OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
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OC 54/8 Postal receipt for a letter from Schenker to Drei Masken Verlag, dated December 9,
1924
Postal receipt for OC 54/5-7.
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OC 54/9 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated
December 22, 1924
DMV acknowledge receipt of Schenker’s letter of December 9, 1924 and promise
to reply after the Christmas holidays.
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OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12,
1924
The Library does not possess the autograph of J. S. Bach's Kleine
Präludien.
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OC B/184 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 27,
1924
Altmann states the cost of photographing autograph parts of the St Matthew
Passion.
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OC B/185 Handwritten postcard from Wilhelm Altmann to Schenker, dated October 30,
1924
Altmann is about to send Schenker the autograph parts of J. S. Bach's St
Matthew Passion, and asks for remittance.
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OC B/186 Customs receipt [from Preussische Staatsbibliothek to Schenker], dated November 6,
1924
Receipt from customs for payment ofimport tax [on Bach St. Matthew Passion
parts].
-
OC B/187 Handwritten postcard from Wilhelm Altmann to Schenker, dated November 14,
1924
Schenker may hold on to the parts of the St Matthew Passion for some
time.
-
OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17,
1924
Altmann asks Schenker to send the balance of the charge for the Bach St
Matthew Passion parts.
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OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924
Money has arrived. Dahms hopes for better conditions in 1924.
-
OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924
Dahms thanks Schenker for information about Castiglione. The Deutsche
Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has
excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in
Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong
reaction outside Germany.
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OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924
The Dahmses send birthday greetings. They are staying in the Abruzzi; will not
get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.
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OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924
Dahms visited Germany for two weeks; invites the Schenkers to visit him in
Venice.
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OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924
Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments
on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them.
Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.
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OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924
Halm checks that Schenker has received a letter and score from him. — He asks
for guidance over Oppel's music.
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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.
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OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924
Hammer invites Schenker to a first sitting for his portrait.
-
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.
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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 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
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OJ 11/54, [A] Handwritten calling card from Hoboken to Schenker, undated
Hoboken and his wife are staying at the Hotel Sacher.
-
OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924
Klenau sends a letter he has received from Felix Weingartner and his own
response.
-
OJ 12/11, [7] Handwritten calling card from Klenau to Schenker, dated May 13, 1924
Klenau asks to make a brief visit.
-
OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924]
Klenau asks Schenker to read over an article that he has
written.
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OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924
Klenau sends a letter he has received from Heinrich Rickert, and thanks
Schenker for a discussion earlier the same day.
-
OJ 12/17, [3] Handwritten notecard from Komorn to Schenker, dated February 1, 1924
Miss Komorn acquiesces to the fee increase; she is fortunate to have the small
number of lessons that she does.
-
OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924
Mrs. Komorn asks for an extra lesson.
-
OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924
Miss Komorn thanks Schenker profusely for all that he has taught her in the
past year.
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OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924
Mrs. Komorn inquires whether Schenker is back from vacation.
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OJ 12/31, [2] Typewritten letter from Ernst Lamberg to Schenker, dated July 1, 1924
Ernst Lamberg informs Schenker that the Association for Feeding ... has
resolved to dissolve itself, and to make over a proportion of its capital to the Academy for
Music and Performing Arts.
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OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924
Ernst Lamberg declines to write, as requested, to Josef Marx.
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OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December
13, 1924
Marx has submitted the form of award of the Sophie Deutsch stipends to the
Ministry of Education.
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OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21,
1924
Siegfried Fritz Müller has met with resistence in rural Switzerland to
Schenker's ideas. -- He describes his daily working practices. -- He plans to return to
Schenker for lessons in Spring 1925 and lists the works in his prepared
programs.
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OJ 14/21, [5] Handwritten receipt for payment by Schenker to Seidel'sche Buchhandlung, dated February 1,
1924
Receipt for a 180,000 kronen payment by Schenker to Seidel'sche Buchhandlung.
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OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924
Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp,
Op. 78.
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OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924
Violin thanks Schenker for his recent postcard, and reports that he will resume
negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the
latter return to Hamburg.
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OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
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OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924
Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In
the former, he finds the graphs of the short preludes by Bach more difficult than anything that
Schenker has previously done. He will write to Bamberger with the offer of help (in finding an
accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of
his pupils, he offers an explanation for the falling direction of the transitional theme
(measures 24-30) and its reappearance in the development section (measures 94-100) in inverted,
ascending form; he asks if this interpretation is sensible.
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OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924
Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg),
Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.
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OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924
Violin reports on continued negotiations with Max Temming on the distribution of
free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in
which something about Schenker's writings may have recently appeared). He expresses his
embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the
occasion of Schenker's 50th birthday, but agrees to let him see it.
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OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924
Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to
Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing
scarce, he has raised his fees, as a result of which several have left; but he has also gained
some new ones.
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OJ 14/45, [35] Handwritten draft letter to Max Temming, in Schenker’s hand, dated October 10, 1924,
sent to Moriz Violin
In this draft letter to Max Temming, Schenker expresses his thanks for the
industrialist's financial support for the dissemination of Der Tonwille to university music
departments.
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OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924
In the process of arranging for copies of Der Tonwille to be distributed, Violin
discovers that a pupil of his paid twice as much for one issue as the marked price in Austria.
He has made some inquiries into this matter, and asks Schenker what an issue currently costs in
Austria. There are no respectable music institutions in Hamburg, so Violin will distribute
copies there personally.
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OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924
Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He
has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with
UE. He reports on Buxbaum and Pollak, and also Blüthner.
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OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924
This somewhat cryptic letter, possibly relating to a subscription order for Der
Tonwille, was sent with an enclosure that required some interpretation or action on the part of
Schenker. Violin also reports that the music department at the University of Berlin has
received, with gratitude, the copies of Der Tonwille.
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OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924
Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.
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OJ 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924
Responding to a request for information about Brahms's meeting with Wagner,
Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms.
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OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924
Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that
Universal Edition is about to send him the proofs for two of his compositions, a set of vocal
quartets and a string quartet.
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OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924
Responding to Schenker's explanation of a recent coldness between them, Weisse
asserts that his questions arise only from his own studies, not from work with his pupils; it is
not fear, but dependency on Schenker as a "medium," that drives him to ask such
questions.
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OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924
Weisse is so absorbed in his work that he is unable to give Schenker a precise
number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg
soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German
Genius.” — Weisse will devote much time to composition during the coming season, and for this
reason will forego taking further lessons from Schenker.
-
OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924
Weisse apologizes for not writing sooner, saying that he will return to Vienna by
the middle of the following week.
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OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924
Weisse acknowledges Schenker’s recent letter, wants to speak with him face to
face about a number of things but uses this letter to defend his "hypersensitivity" towards
Schenker as stemming from the love and honor that he bestows on him.
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OJ 15/31, [1] Handwritten letter from Hermann Wunsch to Schenker, dated January 31,
1924
Hermann Wunsch thanks Schenker for the award of 2M Kronen as a stipend
from the Sofie Deutsch bequest, and reports on his recent compositional
activity.
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OJ 15/31, [3] Handwritten letter from Hermann Wunsch to Schenker, dated March 29,
1924
Hermann Wunsch encloses a review of his second symphony, and asks for
Schenker's help in securing a performance in Vienna.
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OJ 5/24, [1] Handwritten draft letter from Schenker to Ernst Lamberg, dated July 8,
1924
Draft letter in which Schenker contends that Sofie Deutsch's intentions for
the administration of the stipends for composers that she created through her will are being
disregarded with the passing of the capital sum to the Academy for Music and Performing
Arts, and instructs Dr. Lamberg to write to Josef Marx, Director of the Academy, in these
terms.
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OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12,
1924
Schenker outlines his attitude to Bamberger's leaving him, and offers advice to
Weisse.
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OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924
Schenker sends Cube a prospective student, and recommends level of payment.
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OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924
Schenker names ten universities that should receive complimentary copies of Der
Tonwille, explaining that university music departments (Seminare) are more suitable recipients
than conservatories and other types of music schools. With 1924 coming to an end, he will resign
from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The
latter have agreed to publish his study of Beethoven's Sonata Op. 106
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OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924
Schenker has received a photographic reproduction of the opening chorus of Bach's
St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming
Hertzka for being slow to send work to the engraver, and has written to him with a request to
dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and
recounts a long story about his piano dealer, Bernhard Kohn.
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OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
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OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924
Schenker sends Violin Jeanette's handwritten copy of the essay Violin had
composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. —
Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a
Munich publisher.
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OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
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OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924
After thanking Violin for his touching fiftieth-birthday tribute of 1918,
Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which
Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate
more on the dissemination of Der Tonwille, with a new publisher.
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OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]
Schenker confirms Violin's interpretation [given in his previous letter] of the
"Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has
written to say that he and his son are using Schenker's analyses of Bach preludes in their
counterpoint classes, and expresses the hope that one day they will continue Schenker's work
independently.
-
OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]
Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol
above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in
Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.
-
OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924
Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the
Violins to visit them some time during their Austrian holiday, and shows them, on the picture,
the mountain pass where they can meet up.
-
OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz
Violin, undated [postmarked August 12, 1924]
In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and
Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto
Vrieslander, all express their regret that the Violins could not be with them.
-
OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924
Schenker sends a greeting on the occasion of the Violins' return to Hamburg after
their holiday in Austria, writing a picture postcard showing the cottage where they presumably
went for a meal.
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OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924
Bamberger writes of his pleasure at working in a theater, and his liking of
Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and
has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and
is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker
pupils.
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UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May
21, 1924
The letter quotes the will of Mrs Sofie Deutsch, then announces that the
Verein is in process of dissolution, and decrees that the capital in question be devolved
upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its
attorney.
-
UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27,
1924
Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to
be sent to attorney Ernst Lambert and the Ministry of Education.
-
UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June
30, 1924
The letter quotes that of the Akademie für Musik to the Verein zur Speisung,
and requests transfer of sum of money tothe Akademie.
-
UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker,
dated December 3, 1924
Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch
for the stipends be honored.
-
UMdK Z 641 D/1924, [2] Handwritten internal memorandum of the Akademie für Musik, dated December 13,
1924
Drafts of letters to (1) the Federal Ministry of Education, (2) Schenker, both
regarding Schenker's appeal to Marx of December 3.
-
WSLB-Hds 95659 Handwritten postcard from Schenker to Seligmann, dated September 26, 1924
Schenker reports a visit from a Munich art historian, Wilhelm Hausenstein;
despite their strong artistic and political differences, the afternoon was entirely
civilized.