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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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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
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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.
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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, [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 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.