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  • 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.

  • OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924

    Mrs. Komorn asks for an extra lesson.

  • 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.

  • 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.