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FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925
Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing
gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The
Creation, and thinks that it might be worth looking up Zelter's work in connection with
Schenker's forthcoming study of the same work.
-
FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925
Weisse has found Zelter's review of Haydn's Creation and has copied out the
section concerned with "The Representation of Chaos." He finds nothing of value in the
review, but says it must have pleased Haydn because it shows that the composer was entirely
conscious of how he went about writing the work.
-
JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
-
JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925
Schenker inquires as to Hammer's whereabouts, referring to a current scandal
surrounding the Albertina gallery in Vienna. He asks about "the first
print."
-
JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]
Heinrich and Jeanette consider the test proof of the Schenker mezzotint
finished and urge him to finalize it. Heinrich tells Hammer about Anthony van
Hoboken.
-
JOB 94-3, [13] Handwritten letter from Schenker to Hammer, dated September 8, 1925
Heinrich discusses the drawing from which the Schenker mezzotint was made, and
its prospects for sale. The Keilgasse house is undergoing deep cleaning.
-
JOB 94-3, [14] Handwritten letter from Schenker to Hammer, dated September 9, 1925
Schenker informs Hammer that the drawing from which the Schenker mezzotint was
made has been sold.
-
JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5,
1925
Schenker informs Hammer that he has recommended Otto Vrieslander as the author
of a short article about him to accompany the Hammer mezzotint for publication in the
journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for
Schenker and himself, and detailing arrangements for payment.
-
JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11,
1925
Schenker reports that the tube [containing a print of the mezzotint portrait
of him, for making a printing block] has been sent to the publisher [of Die Musik], and he
now waits to see whether the latter will commission an article to accompany it. He comments
on the Albertina's purchase of a print of the portrait.
-
JOB 94-3, [17] Handwritten postcard from Schenker to Hammer, dated October 18, 1925
Schenker quotes Schuster's response acknowledging receipt of the portrait and
anticipates publishing it [in Die Musik], perhaps with an accompanying
essay.
-
OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925
Dealing at the same time with a family matter, Violin sends Schenker the
receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the
money for this was sent to the Leipzig office of Universal Edition. He is not planning any
summer holiday this year.
-
OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925
Miss Elias reports on the pricing of issues of Der Tonwille in two music
stores.
-
OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19,
1925
Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken
out.
-
OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13,
1925
Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for
clarity regarding dealings with Drei Masken-Verlag.
-
OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925
Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and
has collected the receipts. He has not heard from Weisse, but attended a performance of his
String Sextet and, like Schenker, found the variations and the trio section of the scherzo
the most successful.
-
OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
-
OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925
Violin sends Schenker receipts for the purchase of Der
Tonwille.
-
OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925
Violin has received letters from the music departments of two German
universities, which show that the tenth issue of Der Tonwille (published in January 1925)
was not received until June 10.
-
OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925
Baumgarten expresses his concerns about Schenker’s negotiations with a new
publisher, and cautiously advises that his client might instead wish to reach a peaceful
agreement with Universal Edition.
-
OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19,
1925
Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with
Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent
essay on C. P. E. Bach.
-
OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January
20, 1925
Drei Masken Verlag offer to publish Schenker's future work as a yearbook,
entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages).
The manuscript would need to be delivered in July in order for the book to be published in time
for Christmas.
-
OC 54/13 Postal receipt for documents sent by Schenker to Otto Vrieslander, dated January 21, 1925
Postal receipt for unknown item
-
OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23,
1925
Baumgarten will let Schenker know whether he is able to visit him the following
Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC
54/12).
-
OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
-
OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.
-
OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3,
1925
Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker
will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold,
whether hardback or paperback. They offer an advance of 500 marks against expected sales at the
time of publication (early November), and can give him half that sum upon receipt of his
manuscript at the end of June.
-
OC 54/192 Notes by Schenker, made in November 1925
Notes concerning the production schedule for the first Meisterwerk
yearbook.
-
OC 54/20-22 Draft of a letter from Schenker to Drei Masken Verlag, dated February 7,
1925
Schenker agrees to the terms of a contract outlined by Drei Masken Verlag. He
requests that Fraktur typeface be used in the printing of his Yearbook, and he also needs to
know the likely dimensions of the book (in words per page) so that he can plan its contents
accordingly. He ends with a diatribe against Emil Hertzka at Universal
Edition.
-
OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925
A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for
Meisterwerk.
-
OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925
Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a
contract for the Meisterwerk Yearbooks.
-
OC 54/26 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
25, 1925
Postal receipt for unknown item
-
OC 54/27 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
28, 1925
Postal receipt for express letter
-
OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3,
1925
Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's
Yearbook, but only with the approval of Hertzka at Universal Edition.
-
OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June
10, 1925
Drei Masken Verlag requests that Schenker send the manuscript of the first
Meisterwerk Yearbook directly to their Munich office.
-
OC 54/30 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated June 15,
1925
Postal receipt for manuscript of Meisterwerk I dispatched to Drei Masken
Verlag
-
OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24,
1925
Moriz Schenker tells his brother that he will ask his friend Sobotka to
intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken
Verlag
-
OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925
Moriz Schenker has seen his friend Sobotka, who will arrange for the advance
from Drei Masken Verlag to be paid into his account.
-
OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1,
1925
In response to Schenker's request for proofs for the first Meisterwerk Yearbook,
Drei Masken Verlag explain that they have not yet decided on a printing house. They advise
Schenker to submit his next manuscript earlier in the year, on account of the complexity of the
work.
-
OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16,
1925
Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk
Yearbook has not yet been found, owing to the high costs of this work, and that first proofs
will not be ready for another two weeks.
-
OC 54/35 Typewritten postcard from August Demblin (DMV) to Schenker, dated September 22,
1925
Drei Masken Verlag arranges for Schenker to be paid his advance of 250
marks.
-
OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13,
1925
Drei Masken Verlag has still not found a suitable printing house, and informs
Schenker that the first Meisterwerk Yearbook cannot be published in 1925.
-
OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16,
1925
Expressing his distress at the delays, Schenker expresses his hope that the
first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it
should still bear the date of 1925.
-
OC 54/38 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated October 16, 1925
Postal receipt for letter OC 54/37
-
OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19,
1925
Drei Masken Verlag are near agreement with a printer; Yearbook I will be
backdated to 1925.
-
OC 54/40 Handwritten note by Schenker, dated November 4, 1925
Reminds about proofs.
-
OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Munich have now transferred all matters of production
concerning Meisterwerk I to their office in Vienna.
-
OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the
printing house for Yearbook I; they ask Schenker for the precise wording of the title of the
book, and issue instructions for dealing with the galley-proofs.
-
OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18,
1925
New stamps for the printing of Schenker's careted numbers must be ordered before
the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by
a few days.
-
OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21,
1925
The printing-house has just received the stamps with the special characters
needed to set the first Yearbook, and the proofs will be ready in a few days.
-
OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28,
1925
The text of Yearbook I has been set, but the music examples will require more
time.
-
OC 54/46 Postal receipt for a package from Schenker to Drei Masken Verlag, dated November 30,
1925
Postal receipt for galley-proofs 1-6 and 23 pages of manuscript of Meisterwerk
I.
-
OC 54/47 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 4,
1925
Postal receipt for galley-proofs 7–13
-
OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9,
1925
Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They
note that he has made a large number of corrections to the proofs, and warn him that, though
they can be incorporated in the final text, he will have to bear the expense if they exceed 10%
of the overall printing costs.
-
OC 54/49 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 9,
1925
Postal receipt for galley-proofs
-
OC 54/50 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 15,
1925
Postal receipt for galley-proofs
-
OC 54/51 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 17,
1925
Postal receipt for galley-proofs
-
OC 54/52 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 21,
1925
Postal receipt for galley-proofs
-
OC 54/53 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 30,
1925
Postal receipt for galley-proofs
-
OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15,
1925
Altmann thanks Schenker for the medallion; he will be unable to visit
Galtür.
-
OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12,
1925
Conditions under which Altmann could purchase Brahms autograph for
Library.
-
OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925
The St. Matthew Passion parts may be retained until mid-July; Altmann is
pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in
Galtür next summer.
-
OC B/197 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 20,
1925
Postal receipt for package to Altmann [containing Bach autograph
material]
-
OC B/198 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked November 13,
1925
Postal receipt for package to Altmann [containing portrait]
-
OC B/199 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 12,
1925
Postal receipt for letter and packet containing Schenker
medallion.
-
OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
-
OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925
Dahms gives his new temporary address.
-
OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]
Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers
to visit. — Hindenburg's election as German President has given a "jolt" to Europe and
pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will
be able to lift Germany out of mediocrity.
-
OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925
Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger]
medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."
-
OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
-
OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925
Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of
Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's
novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a
Sunday after Novemeber 2.
-
OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925
Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior
knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which
refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of
removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven
manuscript at Heck's.
-
OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925
Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers
on November 22 for the planned snack.
-
OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925
Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer
books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing
Deutsch's collection of Schubert first editions.
-
OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925
Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which
Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher,
but this has gone missing.
-
OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925
Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon
about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's
postcard and affixes it to this reply.
-
OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925
Frimmel will correct [errors pointed out by Schenker], and reports that his
Beethovenhandbuch is in press.
-
OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925
Halm explains why he has not written before and reports successful performance
of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag;
reports events at Freie Schulgemeinde.
-
OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925
Hammer describes his travels and work in the past eight months, and compares the
piano playing of Otto Vrieslander with that of Schenker.
-
OJ 11/36, [18] Handwritten letter from Hammer to Schenker, dated August 18, 1925
Hammer enloses a first pull of the mezzotint of Schenker, but expresses
dissatisfaction with it. Gives his itinerary.
-
OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925
Hammer explains why he can't just take the test print of his Schenker
mezzotint as the final product. -- He speaks of money difficulties.
-
OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925
Hammer is working on the plate of the Schenker mezzotint.
-
OJ 11/36, [21] Handwritten postcard from Hammer to Schenker, dated September 17, 1925
Hammer asks for a short sitting the next day.
-
OJ 11/36, [22] Handwritten postcard from Hammer to Schenker, dated September 17, 1925
Hammer asks for a short sitting the next day.
-
OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925
Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will
convey to Schenker a print from which the printing block of the mezzotint can be made for
Die Musik's purposes. -- The Albertina has just purchased one of the
proofs.
-
OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925
Hoboken wishes to become a pupil of Schenker; he has studied Schenker's
theoretical works under Vrieslander, and describes his progress so far; outlines previous
education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer
and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas
he wishes to study with Schenker; if accepted, he would take up residence in
Vienna.
-
OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925
Acknowledges Schenker's communication; is pleased to become a pupil of Schenker;
accepts fee and agrees to three lessons per week.
-
OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
-
OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925
Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on
October 15.
-
OJ 11/54, [B] Handwritten calling card from Hoboken to Schenker, undated
Hoboken gives his current address.
-
OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925
Miss Komorn tries to arrange a meeting with Furtwangler.
-
OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5,
1925
Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker
unreservedly for all she has learned.
-
OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker,
dated June 17, 1925
-
OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925
Schnabel divulges only some details of his publisher's contract.
-
OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925
Unable to leave Hamburg this summer because of financial difficulties, but having
nothing worth saying in a letter, Violin asks for some news from Schenker.
-
OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24,
1925
Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes
to see Schenker if at all possible.
-
OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925
Violin gives Schenker the program of his concerts with van den Berg and
Buxbaum.
-
OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925
Violin reports on a successful concert in which he performed both as a soloist
and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy
of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such
good music. He is going to see Max Temming, and has received four courteous letters of
acknowledgement from university music departments for copies of Der Tonwille.
-
OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925
Violin lends Schenker the letters sent by university music departments
acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were
cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he
hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with
his new publisher, Drei Masken Verlag.
-
OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925
Violin thanks Schenker for sending him the small version of the medallion
designed by Alfred Rothberger. He does not want to give an account of the difficult times he
is facing, expecting that things will eventually turn out for the better. He returns some
money, left over from the purchase of copies of Tonwille 10, which Schenker had previously
sent him.
-
OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925
Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a
pessimistic picture of the world in general, embracing the injustices that his friend must
also suffer.
-
OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925
Informing Schenker that he is beginning to recover after a disastrous year,
Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the
cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started
school, which he also regards as a blessing.
-
OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
-
OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925
Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two
pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with
Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der
Tonwille.
-
OJ 15/15, [18] Handwritten postcard from Weisse to Schenker, dated April 27, 1925
Weisse has come across a letter from Brahms to his publisher Fritz Simrock, which
he thinks will be of interest to his teacher.
-
OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925
Weisse asks Schenker to look at some suitable frames for Hammer's portrait of
him. He reports that several autograph manuscripts of Brahms are being put up for sale, of
which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly
interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest
theoretical concepts are being taught at Damrosch's music school in New
York.
-
OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5,
1925
Weisse apologizes for not having written for a long time. He has seen Furtwängler
and reports that the conductor knows nothing of his writings and has no idea about the Urlinie.
Universal Edition have declined to publish his Sextet. (In the missing portion of the letter,
which is summarized in Schenker's diary, he asks his teacher's help in finding another
publisher, perhaps with Wilhelm Altmann's intervention.)
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OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925
Schenker explains to Cube's father why his first teaching assignment went awry, but promises to
continue to help him; he suggests Anthony van Hoboken may be able to assist him.
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OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925
Responding point by point to Violin's previously letter (OJ 14/45, [41]),
Schenker congratulates his friend on the success of his recent concert. He writes at length
about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with
Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare
enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can
be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few
disparaging remarks about his character.
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OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
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OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
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OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925
Continuing the story of the ongoing financial battle against Hertzka and
Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid
for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the
order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr.
Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek
a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned
royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact –
outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this
issue is still in demand, despite Hertzka's claims to the contrary. He has attended a
performance of Hans Weisse's Sextet, of which he found the variation movement and the trio
section of the scherzo to be the most satisfactory parts.
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OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
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OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
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OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925
Schenker thanks Violin for his latest efforts to account for subscriptions to Der
Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred
Rothberger.
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OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
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OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
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OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high
cost of living, and his inability to raise his fees to keep up with it (in particular, he
feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on
sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his
portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original
drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the
portrait, and things are now going well with the corrections to Meisterwerk 1 and the
writing of Meisterwerk 2.
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OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14,
1925
Schenker asks Violin urgently to send him the receipt for payment made to
Universal Edition (for the copies of Der Tonwille paid for by Max Temming).
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OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925
Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief
account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with
his likeness (designed by Alfred Rothberger).
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OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925
Schenker asks Violin to write to one of the German university music
departments who received subscriptions to Der Tonwille through the generosity of Max
Temming, to find out if, and when, they received Tonwille 10, which was published in
January. He reports being on the verge of completing the first Meisterwerk
Yearbook.
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OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925
Schenker thanks Violin for his most recent efforts concerning the
subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in
January 1925, did not reach some subscribers until June. He hopes that Violin will be able
to visit him in the Tyrol this summer, as he is expecting Vrieslander with his
son.
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OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked
August 27, 1925
Schenker sends greetings from the Tyrol, reports the publication of an article
on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's
bronze medallion.
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OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21,
1925
Interrupting his correcting of the proofs for the first Meisterwerk Yearbook,
Schenker sends Christmas greetings to the Violins, and informs his friend that an
out-of-court settlement was made with Universal Edition. Recent concert appearances of the
cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio
concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be
sent to Hamburg.
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OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
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OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23,
1925
As a follow-up to his previous letter, Bamberger gives a full account of the
number of subscriptions to Der Tonwille that he has either instigated himself or encouraged
others to take on.
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OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925
Bamberger seeks Schenker's advice on the choice of works for a series of
Sunday morning concerts that is included in his new contract with Danzig.
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OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27,
1925
Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a
Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on
Hupka's progress in Cologne, and inquires after F.E. von Cube.
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OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925
Cube has had to extend his holiday to take care of his father, who has been forced to abandon his
second marriage under pressure from his firm.
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OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925
Finding himself adversely affected by the current financial crisis, Gustav von
Cube asks Schenker to help find work for his son Felix, to help help him finance his
studies.
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OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October
21, 1925
Schmidt reports the response from the Federal Ministry of
Education.
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OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3,
1925
Altmann asks Schenker to send his [Hammer] portrait to the editor of Die
Musik.
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OJ 9/8, [2] Handwritten postcard from Wilhelm Altmann to Schenker, dated November 21,
1925
Altmann acknowledges receipt of the [Hammer] portrait. — He refers to a booklet
explaining Schenker's Urlinie.
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UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated
February 23, 1925
The Akademie is instructed to draw up an endowment letter concerning the
Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must
determine how adjudication should be conducted after his death.
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UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated
October 30, 1925
Schenker determines how the Sofie Deutsch stipend should be adjudicated after
his death.
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WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925
Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming
Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack.
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WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925
Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat
on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript.