-
FS 40/1, [1] Handwritten letter from Schenker to Salzer, dated February 8, 1930
The Schenkers accept Salzer's invitation to attend a performance of Weisse's
Octet.
-
FS 40/1, [2] Handwritten letter from Schenker to Salzer, dated May 26, 1930
Schenker thanks Salzer for sending an offprint of an article of his, and
comments.
-
OC 39/1 Handwritten envelope for proofs sent by Deutsch to Schenker, postmarked August 23,
1930
Envelope for proofs.
-
OC 52/860 Typewritten letter from Hertzka (UE) to Schenker, dated January 16, 1930
Hertzka sees no prospect of publishing the "Eroica" study as a
monograph.
-
OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930
50.66 shillings has been transferred.
-
OC 52/862 Invoice from UE to Schenker, dated October 10, 1930
Invoice for Tonwille sent to the Kiel Hochschule students.
-
OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4,
1930
Roth supplies the costing requested.
-
OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10,
1930
Kalmus reports an inquiry from the Kiel student body.
-
OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13,
1930
UE have granted permission to the Kiel student body.
-
OC 52/866 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated December 10,
1930
UE has sent a complimentary copy of Der Tonwille to Hermann
Rinn.
-
OC 52/867 Typewritten letter from Hugo Winter (UE) to Schenker, dated December 29,
1930
UE has transferred 1,250 shillings, and sends New Year's best
wishes.
-
OJ 52/902 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 2, 1930
Receipt for sum of 1,250 shillings [from UE].
-
OJ 52/903 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 22, 1930
Receipt for sum of 78 shillings 25 groschen [from UE].
-
OC 54/196 Receipt from Georg Tomay to Schenker, dated June 23, 1930
Receipt for a payment to Georg Tomay
-
OC 54/197 Handwritten letter from Georg Tomay to Schenker, dated July 1, 1930
Tomay informs Schenker that Karl Piller has been entrusted with printing the
third Meisterwerk volume. He also encloses a manuscript leaf of Fig. 49 and requests
direction on how to proceed.
-
OC 54/198 Postal receipt for a letter from Schenker to Georg Tomay, July 3, 1930
Postal receipt for a package containing Fig. 49 for the third Meisterwerk
volume, along with materials concerning the Finale.
-
OC 54/199-200 Handwritten letter from Georg Tomay to Schenker, dated July 9, 1930
Tomay encloses the imprints of the music examples for the third Meisterwerk
volume, along with the original manuscripts, and requests clarification on various matters.
He invites Schenker to send corrections at his earliest convenience, and informs him that
the printing of the appendix will be undertaken in Leipzig instead of Vienna owing to a
significant reduction in production costs.
-
OC 54/201 Receipt from Georg Tomay to Schenker, dated July 14, 1930
Receipt for a payment to Georg Tomay for his work on the third Meisterwerk
volume.
-
OC 54/202 Postal receipt for a package to Georg Tomay, dated July 14, 1930
Postal receipt for a package containing the corrected proofs of Figures 1–49 for
the third Meisterwerk volume.
-
OC 54/203 Handwritten letter from Georg Tomay to Schenker, dated July 24, 1930
Tomay encloses blueprint matrices of select music examples for the third
Meisterwerk yearbook for Schenker's consideration, and anticipates that the pages for the
fourth movement will reach him in approximately one week.
-
OC 54/204 Handwritten letter from Georg Tomay to Schenker, dated July 26, 1930
Tomay encloses various figures for the third Meisterwerk volume for Schenker's
consideration, and also informs Schenker that he will soon dispatch corrected copies of the
figures concerning movements 1–3 of Beethoven's Third Symphony for his approval to
publish.
-
OC 54/205 Receipt for a payment to Georg Tomay, dated July 28, 1930
Receipt for a payment to Georg Tomay for work on the third Meisterwerk
yearbook.
-
OC 54/206 Handwritten letter from Georg Tomay to Schenker, dated July 29, 1930
Tomay responds to Schenker's questions about marking up corrections in the
music examples for the third Meisterwerk volume, and notifies him that he will send
blueprints of the music examples as soon as they have been produced.
-
OC 54/207 Handwritten letter from Georg Tomay to Schenker, dated July 31, 1930
Tomay encloses blueprints of music examples for the third Meisterwerk volume
for Schenker's consideration. He anticipates that he will soon be in a position to send
corrected copies of the graphs for movements 1–3 of Beethoven's Third Symphony, with the
hope to secure Schenker's approval to publish.
-
OC 54/208 Postal receipt for a parcel to Georg Tomay, dated August 4, 1930
Postal receipt for a package containing music examples for the third
Meisterwerk yearbook.
-
OC 54/209 Postal receipt for a parcel to Georg Tomay, dated August 4, 1930
Postal receipt for a package containing Urlinie graphs for the third
Meisterwerk volume.
-
OC 54/210 Postal receipt for a parcel to Georg Tomay, dated August 11, 1930
Postal receipt for a package containing Urlinie graphs for
the third Meisterwerk volume.
-
OC 54/211 Handwritten letter from Georg Tomay to Schenker, dated August 13, 1930
Tomay encloses sepia prints of music examples for the third Meisterwerk
yearbook, and asks Schenker to check them thoroughly and mark up any final
corrections.
-
OC 54/212 Postal receipt for a package to Georg Tomay, dated August 16, 1930
Postal receipt for a package containing imprimatur copies of music examples
for the third Meisterwerk volume.
-
OC 54/213 Postal receipt for a parcel to Georg Tomay, dated August 19, 1930
Postal receipt for a package containing first proof corrections of Urlinie
graphs for the third Meisterwerk volume.
-
OC 54/214 Handwritten letter from Georg Tomay to Schenker, dated September 11, 1930
Tomay requests 200 shillings for payment to Jahoda, and notifies Schenker of the
outstanding fees for his work on the third Meisterwerk yearbook.
-
OC 54/215 Handwritten letter from Georg Tomay to Schenker, dated October 17, 1930
Tomay asks whether Schenker has received any new proofs from the printing house, and
sends a gentle reminder concerning the outstanding fees.
-
OC 54/216 Handwritten receipt from Georg Tomay to Schenker, dated October 18, 1930
Tomay confirms receipt of the outstanding payment for his work on the third Meisterwerk yearbook.
-
OC 54/217 Invoice from Georg Tomay to Schenker, dated November 23, 1930
Handwritten invoice for additional costs incurred in the production of music
examples for the third Meisterwerk volume.
-
OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930
Straube informs Schenker that, owing to the acute slump in sales of musical
textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook
with both Breitkopf & Härtel and C. F. Peters.
-
OC 54/219 Invoice from Karl Piller, dated July 12, 1930
Invoice for preliminary printing costs for the third Meisterwerk
volume.
-
OC 54/220 Receipt from Karl Piller, dated July 22, 1930
Receipt for preliminary printing costs for the third Meisterwerk
volume.
-
OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930
Cost estimate of production costs for the third Meisterwerk
yearbook.
-
OC 54/222 Delivery note for a package from Waldheim Eberle to Schenker, dated February 13,
1930
Delivery note for the manuscript of the third Meisterwerk volume, returned to
Schenker by Waldheim Eberle, along with an estimate for production costs (OC
54/221).
-
OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930
Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are
delighted to have been chosen as the printing house for the third Meisterwerk
volume.
-
OC 54/224 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 22,
1930
Drei Masken Verlag confirm that they are willing to embark on the publication
of the third Meisterwerk volume, and request further information about the print
run.
-
OC 54/225 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 27,
1930
Drei Masken Verlag will draw up an estimate for the production costs of the
third Meisterwerk volume following receipt of the manuscript.
-
OC 54/226 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated June 2,
1930
Drei Masken Verlag advise Deutsch to contact Elbemühl A.G. concerning the
supply of paper for the third Meisterwerk volume.
-
OC 54/227 Typed Postcard from August Demblin (DMV) to Otto Erich Deutsch, dated June 10,
1930
Drei Masken Verlag ask Deutsch to forward the manuscript of the third
Meisterwerk yearbook to Elbemühl, in order to allow them to produce a more precise
estimate.
-
OC 54/235 Typewritten postcard from Drei Masken Verlag to Deutsch, dated August 30, 1930,
forwarded to Schenker September 2, 1930
Drei Masken Verlag asks for clarification about what to do with the corrected
galley-proofs they have recently received from Schenker; Deutsch forwards it to Schenker
asking him to reply direct to the publisher.
-
OC 54/237 Typewritten letter from Drei Masken Verlag to Schenker, dated October 8,
1930
Drei Masken Verlag say the printers cannot be held responsible for mistakes in
the page-proofs and layout of the third Meisterwerk yearbook that Schenker failed to note in
the galley-proofs. A new set of page-proofs will be issued, and the last section of the book
will be repaginated.
-
OC 54/238 Typewritten letter from Drei Masken Verlag to Schenker, dated October 14,
1930
Drei Masken Verlag confirms that the printers should not be held responsible
for changes that were not indicated in the galley proofs. They will send printouts of the
music examples and Urlinie pages in a few days; Schenker is asked to approve the way in
which they are bound and inserted into the yearbook.
-
OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
-
OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
-
OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
-
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
-
OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930
Furtwängler wishes to visit Schenker in the Tyrol.
-
OC 54/303 Handwritten letter from Deutsch to Schenker, dated May 30, 1930
Schenker is advised to visit the lithographer Karl Piller concerning the
preparation of his music examples and illustrations [for the Eroica monograph]. Deutsch will
write immediately to Drei Masken Verlag about the type of paper to be used.
-
OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
-
OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.
-
OC 54/306 Handwritten receipt from Deutsch to Schenker, dated June 21, 1930
Receipt for the text of Schenker’s study of the Eroica Symphony, [which Deutsch
was to take to the printers for an estimate of the production costs].
-
OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930
Deutsch has been in touch with the production team and the publishers of the
third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the
book, including details of text printing, lithography and paper. -- In a postscript, he
offers to help with the proof corrections of the text.
-
OC 54/308 Handwritten picture postcard from Deutsch to Schenker, dated June 28,
1930
A printer’s sample make-up for the third Meisterwerk yearbook is on its way to
Schenker; Deutsch asks Schenker to return it together with his comments.
-
OC 54/309 Postal receipt for package sent from Schenker to Deutsch, postmarked July 2,
1930
Schenker returns Röder's sample brochure [for Meisterwerk III] to Deutsch with
Furtwängler letter.
-
OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
-
OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930
Deutsch sends Schenker the contract from Drei Masken Verlag for the third
Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks
that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that
Hoboken will soon receive the new honor from the Austrian government, for services to
scholarship.
-
OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21,
1930
Deutsch is sending the text manuscript of Schenker’s third Meisterwerk
yearbook to Drei Masken Verlag.
-
OC 54/313 Postal receipt for package sent from Schenker to Deutsch, postmarked July 21,
1930
Schenker sends a 16-page letter and a clipping.
-
OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28,
1930
Deutsch asks Schenker not to return any proof corrections (to the text of the
third Meisterwerk yearbook) until he has seen his own.
-
OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930
Deutsch makes further reports on the anticipated costs of the third
Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as
a symphony and found some important early editions of the Op. 22 Sonata. -- He would like
Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with
the concept of Urlinie.
-
OC 54/316 Handwritten picture postcard from Deutsch to Schenker, dated August 11,
1930
Deutsch has received the first proofs [of the third Meisterwerk yearbook] from
the printers, and would like to look carefully at them before forwarding them to
Schenker.
-
OC 54/317 Postal receipt, for consignment from Schenker to Deutsch, postmarked August 25,
1930
Schenker sends letters (from Leo Kestenberg to Hans Weisse) to
Deutsch.
-
OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27,
1930
Deutsch has no objection to Schenker adding a note about a possible source for
the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the
proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian]
Minister for Education ought to see the letters that Leo Kestenberg has written about
Schenker’s work. -- He asks Schenker for a possible journalist contact in
Aussig.
-
OC 54/319 Typewritten picture postcard from Deutsch to Schenker, dated August 30,
1930
Deutsch asks Schenker to suggest a time when the two of them can get together
in Vienna.
-
OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930
Deutsch asks Schenker to look carefully at two passages in the proofs of the
music examples to the third Meisterwerk yearbook and send them to him immediately. He also
wants Schenker to change the ending of the final item in the yearbook’s
“Miscellanea.”
-
OC 54/321 Typewritten picture postcard from Deutsch to Schenker, dated September 15,
1930
Deutsch wishes Schenker a speedy recovery from an accident or
illness.
-
OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930
Deutsch cannot see Schenker until Sunday, September 21, 1930.
-
OC 54/323 Handwritten picture postcard from Deutsch to Schenker, dated September 26,
1930
Deutsch has learned that a number of Beethoven items have been transferred
from Olmütz [now Olomouc, in the Czech Republic] to the monastery at
Kremsier.
-
OC 54/324 Typewritten picture postcard from Deutsch to Schenker, dated October 3,
1930
Deutsch has learned that the sources that may have once been in Archduke
Rudolph’s collection in Olmütz were not transferred to Kremsier, and that the last footnote
(NB) on p. 87 of the third Meisterwerk yearbook ought to be changed.
-
OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930
Deutsch explains to Schenker which proof corrections may be the author’s
responsibility, and which the printer’s or publisher’s, and advises him to write back to the
publisher but not to get unduly upset about these matters.
-
OC 54/326 Typewritten picture postcard from Deutsch to Schenker, dated October 12,
1930
Deutsch explains to Schenker that it is a publisher’s duty to contact an
author in the event of some possible errors, especially of a technical nature, even if it
has not actually financed the work itself.
-
OC 54/327 Handwritten letter from Deutsch to Schenker, dated October 15, 1930
Deutsch makes some late corrections to the proofs of the third Meisterwerk
yearbook. He also suggests mentioning the supplementary music illustrations and foreground
graphs in the table of contents.
-
OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930
Deutsch suggests a way of placing the loose music illustrations and the bound
graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a
visit soon, perhaps on Friday, October 24.
-
OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch makes further suggestions about how the musical material for the
"Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit
into the third Meisterwerk yearbook. He also recommends fully paginating the
booklet.
-
OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch recommends three modifications to the layout of the supplements for
the third Meisterwerk yearbook.
-
OC 54/331 Typewritten picture postcard from Deutsch to Schenker, dated November 24,
1930
Deutsch has been unable to speak with Mr. Tal [about Roeder’s invoice for the
production of the third Meisterwerk yearbook].
-
OC 54/332 Handwritten letter from Deutsch to Schenker, dated November 26, 1930
Deutsch thinks that the invoice for the printing and production of the third
Meisterwerk yearbook is reasonable, and that Drei Masken Verlag had underestimated the costs
earlier in the summer. He advises on sellling price to ask for.
-
OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21,
1930
After correction by Schenker, Albersheim has finalized an article on
Schenker's work, which he will submit to a journal. He will now prepare himself for the
state examinations.
-
OC B/139 Typewritten letter from Alfred Einstein (ZfMw) to Schenker, dated March 28,
1930
Einstein returns to Schenker an article submitted by Gerhard Albersheim. -- He
acknowledges receipt of a correction from Schenker.
-
OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930
Deutsch explains that, without a fixed annual budget, the Board of Trustees
[of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal
efficiently with the foreign contributors to the collection; a catalogue has still not been
prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the
directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as
her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been
exchanging letters with Vrieslander.
-
OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1930
Deutsch clarifies one or two misunderstandings in Schenker’s previous
postcard: Vrieslander has been contracted by the publisher Strache to bring out some
unpublished sonatas by C. P. E. Bach.
-
OJ 10/3, [116] Handwritten postcard from Hanna Deutsch to Schenker, dated February 1,
1930
The Deutsches invite the Schenkers for dinner on Wednesday, February 5, 1930.
Hoboken will also be there (without his wife).
-
OJ 10/3, [117] Handwritten picture postcard from Hanna Deutsch to Schenker, dated February 3,
1930
Hanna Deutsch accepts Schenker’s choice of date for supper (February
6).
-
OJ 10/3, [118] Handwritten picture postcard from Deutsch to Schenker, dated February 5,
1930
Deutsch confirms the time of his invitation to the Schenkers for the
evening.
-
OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
-
OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
-
OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5,
1930
Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily.
His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to
that periodical. He has found a review in a Stuttgart music journal which contains words of
high praise for Schenker’s Erläuterungsausgaben of the late Beethoven
sonatas.
-
OJ 10/3, [122] Typewritten picture postcard from Deutsch to Schenker, dated March 17,
1930
Deutsch was unable to hear Weisse’s new composition; he has sympathy for the
work of Eduard Beninger.
-
OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
-
OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930
Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch
to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had
misunderstood.
-
OJ 10/3, [125] Typewritten letter from Deutsch to Schenker, dated April 6, 1930
Deutsch has learned that Hoboken intends to keep his apartment in Vienna at
least until 1932; his departure from the city is therefore only temporary.
-
OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
-
OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930
Deutsch thanks Schenker for his musical illustration relating to Beethoven’s
"Neue Liebe, neues Leben" and gives details of the second of two outdoor music events
[Leopoldsplatz], scheduled for June 12.
-
OJ 10/3, [128] Handwritten picture postcard from Deutsch to Schenker, dated May 25, 1930
Deutsch is delighted that Schenker is happy with Drei Masken Verlag’s
willingness to publish the Eroica monograph as a third Meisterwerk yearbook. He has
encountered difficulties with the Vienna Philharmonic Orchestra regarding the program for
the first of two Serenades in the Leopoldsplatz in June.
-
OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930
Deutsch has discussed the printing of the music illustrations for Schenker’s
"Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete
his calligraphic work before Schenker leaves for Galtür.
-
OJ 10/3, [130] Handwritten picture postcard from Deutsch to Schenker, dated June 7, 1930
Deutsch comments on the Beethoven military march (tattoo) he came across; he
is still looking for an arranger for Schubert’s marches for piano.
-
OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930
Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk
yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by
Leo Kestenberg.
-
OJ 10/3, [132] Typewritten picture postcard from Deutsch to Schenker, dated December 1,
1930
Deutsch accepts Schenker’s invitation for Friday, December 5 [to attend Hans
Weisse’s talk, given in preparation for his lectures on Schenker’s theories in
Berlin].
-
OJ 10/3, [133] Handwritten picture postcard from Deutsch to Schenker, dated December 3,
1930
Deutsch has an engagement on Friday evening, December 5, and cannot stay for
the whole of Hans Weisse’s talk.
-
OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14,
1930
Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken
has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish
to consult.
-
OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930
Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news
of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss
the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that
review copies be sent out in January.
-
OJ 10/3, [136] Handwritten picture postcard from Hannah Deutsch to Schenker, dated December 30,
1930
The Deutsches invite the Schenkers for the afternoon of January 4,
1931.
-
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
-
OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930
Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces
of information.
-
OJ 11/32, [6] Handwritten postcard from Robert Haas to Schenker, dated December 5, 1930
Haas is unable to attend [Weisse's lecture].
-
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
-
OJ 11/54, [27] Typewritten letter from Hoboken to Schenker, dated January 30, 1930
Hoboken is unwell and cannot go out.
-
OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930
Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler,
Klemperer and Kleiber. — He has decided to withdraw his planned financing of the
Photogramarchiv's collected edition of C. P. E. Bach.
-
OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2,
1930]
In thanking Schenker for all that he has learned from him, Bernhard Martin
sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica
monograph."
-
OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
-
OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930
Jonas reports from Berlin on a lecture given shortly before in Munich to
introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin.
-
OJ 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930
Jonas regrets any misunderstanding over his request for "a few lines of
recommendation"; he had intended only to ask for "general lines," not recommendations to
individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his
devotion to Schenker's cause for fifteen years, stating what he considers to be the core of
Schenker's thought as he would publicly represent it.
-
OJ 12/6, [6] Handwritten letter from Jonas to Schenker, dated December 5, [1930]
Jonas thanks Schenker for OJ 5/18, [3a], outlines the contents of the general
letter of recommendation requested, and informs Schenker that the Edwin Fischer circle is very
interested is Schenker's work.
-
OJ 13/25, [10] Typewritten letter from Rinn to Schenker, dated May 15, 1930
Rinn sends a copy of Vrieslander's article on Schenker, which will appear in
the next issue of Der Kunstwart. — He looks forward to receiving Schenker's essay on German
poets and music, and hopes that Schenker will consider writing some commentary-style pieces
for him.
-
OJ 13/25, [11] Typewritten letter from Rinn to Schenker, dated June 13, 1930
Rinn hopes Schenker will soon finish his great work (i.e. Free Composition)
soon and devote himself to writing for Der Kunstwart.
-
OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930
Rinn recommends an discussion in the Münchener Zeitung involving one of his
assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and
speaks of publishing a selection of "aphorisms" from the second and third
yearbooks.
-
OJ 13/25, [13] Typewritten postcard from Rinn to Schenker, dated December 5, [1930]
Rinn has extracted "aphorisms" from the three Meisterwerk volumes and sent the
page-proofs to Otto Vrieslander. — He would like to see the Tonwille pamphlets, with a view
to reprinting some of its articles.
-
OJ 13/25, [8] Typewritten letter from Rinn to Schenker, dated January 2, 1930
Rinn has sent Schenker copies of Der Kunstwart and will be in touch with him
about his next contribution, the extracts from the Masterwork yearbooks.
-
OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930
Vrieslander's article about Schenker for Der Kunstwart is too technical and
too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He
expresses enthusiasm for Schenker's idea of writing about the relationship of the great
German poets to music.
-
OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930
Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In
the fall, he will have to make a decision about what to do about his son.
-
OJ 14/45, [116] Handwritten picture postcard from Moriz Violin and others to Schenker, undated, c.
December 10, 1930
Moriz Violin, Hans Weisse, Anthony van Hoboken, Oswald Jonas and Felix Salzer
send greetings to Schenker, following Weisse's lectures in Berlin.
-
OJ 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930
Violin has learned that the proprietor of Rather-Verlag is unwell, and that
there would be no chance of Schenker's having his "Eroica" Symphony monograph published
there. He also reports on declining cultural and human values, of which the recent success
of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to
investigate possible employment there.
-
OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930
Violin apologizes for not having written, but his family have moved to a more
affordable apartment and, around the same time, his wife was taken seriously ill with
appendicitis. Things are better now.
-
OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
-
OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
-
OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930
Violin has just heard that Hans Weisse will be lecturing in Berlin in
December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to
London, has discovered that Schenker's Beethoven sonata edition is much in demand,
especially from students at the Royal Academy of Music.
-
OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18,
1930
Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette
for news about him.
-
OJ 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930
Weisse expresses his unease about the dedication to Furtwängler of an article
on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really
understand the term, may have put Riezler up to writing it.
-
OJ 15/15, [47] Handwritten postcard from Weisse to Schenker, dated November 9, 1930
Weisse asks Schenker for the address of Reinhard Oppel, who may be able to
provide names of people in Berlin whom Weisse could invite to his forthcoming lecture
there.
-
OJ 15/15, [48] Handwritten postcard from Weisse to Schenker, dated November 27, 1930
Weisse, having received a copy of the page-proofs for "Rameau oder Beethoven?"
from the third Meisterwerk Yearbook, calls Schenker's attention to two
misprints.
-
OJ 15/15, [49] Handwritten postcard from Weisse to Schenker, dated November 28, 1930
Weisse is delighted by the chance to rehearse his forthcoming lecture at
Schenker's apartment. His Sextet will be performed at the Musikverein in Vienna; he goes
through a list of Schenker's circle of adherents who might be invited to his forthcoming
lectures at the Central Institute for Music Education and Teaching in
Berlin.
-
OJ 15/15, [50] Handwritten postcard from Weisse to Schenker, dated November 30, 1930
Weisse gives Schenker the address of the Central Institute for Education and
Teaching in Berlin, where he is about to deliver lectures on his teachers
theory.
-
OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930
Carl Bamberger has just returned from Tokyo, and Weisse would like to bring
him to the Schenkers on Friday (December 5).
-
OJ 15/15, [52] Handwritten postcard from Weisse to Schenker, dated December 17, 1930
Weisse asks Schenker if he can come on Sunday to report on the lectures he has
recently given in Berlin.
-
OJ 15/15, [53] Handwritten postcard from Weisse to Schenker, dated December 27, 1930
Weisse thanks Schenker for his support; he has sent off the manuscripts (of
his lectures) to Drei Masken Verlag. He commends his teacher for the clarity of the
analytical graphing of the "Eroica" Symphony.
-
OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930
Weisse has delayed in replying to Schenker's recent letter because he has been
corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna
Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the
small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn
so that he can send them personal invitations. His wife is about to give birth to a second
child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested
in hearing the Octet.
-
OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
-
OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930
Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised
to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not
to write a letter of recommendation until a concrete piece of work materializes. He is about
to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz
Violin and Reinhard Oppel will be there; he would like to give one of these lectures at
Schenker's home before a small audience of his most dedicated pupils, and suggests a date
and time for this.
-
OJ 5/18, 1 Handwritten letter from Schenker to Jonas, dated October 7, 1930
In a letter dictated to Jeanette because of eye trouble, but signed and dated by
Heinrich, Schenker tells Jonas that Vrieslander, Roth, and von Cube were unable to support
themselves in Munich and have moved elsewhere.
-
OJ 5/18, 2 Handwritten letter from Schenker to Jonas, dated November 26, 1930
Having misread Jonas in OJ 12/6, [4] as requesting a letter of recommendation to
Furtwängler, Schenker declines to provide such a letter. Letters of thanks to Schenker from
other Berlin musicians have not led to more solid connections. Most musicians have not dared to
take a position publicly on Schenker's teaching.
-
OJ 5/18, [3a] Handwritten letter from Schenker to Jonas, dated December 2, 1930
Schenker asks Jonas to draft a recommendation for himself, and approves Jonas's
formulation of the core of his teaching.
-
OJ 5/18, [3b] Handwritten letter from Schenker to Jonas, dated December 9, 1930
Letter of recommendation for Jonas.
-
OJ 5/32, [1] Postal receipt from Schenker to Rinn, dated January 23, 1930
Schenker sends the Hammer portrait to Rinn.
-
OJ 5/32, [2] Postal receipt from Schenker to Rinn, dated April 8, 1930
Schenker returns the galley-proofs of Vrieslander's article about
him.
-
OJ 5/32, [3] Postal receipt from Schenker to Rinn, dated November 20, 1930
Schenker sends Rinn Meisterwerk II and the page-proofs of Meisterwerk
III.
-
OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930
Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of
the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's
plans to publish the analysis.
-
OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930]
Schenker sends copy of Vrieslander's article and comments on it, comparing it
unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is
with him; reports departure date for Galtür.
-
OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
-
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
-
OJ 5/7a, [32] (formerly vC 32) Handwritten postcard from Schenker to Cube, dated November 7, 1930
Schenker denies knowing a pupil-imposter; advises Cube to wait until after
Weisse's lectures in Berlin.
-
OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]
Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two
articles in Die Musik.
-
OJ 5/7a, [34] (formerly vC 34) Handwritten postcard from Schenker to Cube, dated December 5, 1930
Gives dates and place of Weisse's lectures in Vienna.
-
OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930
Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is
related to the earlier of his two settings of the song. Although he is grateful for
Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from
the depths of the composition. -- In a postscript, Schenker complains that, in a recent
feuilleton, the music critic Julius Korngold has quoted his terminology (e.g.
Auskomponierung) but failed to mention his name.
-
OJ 5/9, [3] Handwritten letter from Schenker to Deutsch, dated May 15, 1930
Discusses Beethoven's song "Neue Liebe, neues Leben" (Op. 75, No. 2). Dr. Rinn
will be inviting Deutsch to collaborate.
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930]
After congratulating Violin on moving house, Schenker reports that an article
that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a
childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response;
in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself
replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für
Musik. Owing to overwork, he was required to rest during the day between lessons; now he is
better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there,
too.
-
OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
-
OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930
Schenker assures his friend that he understands his difficulties, and that he
can be proud of holding his head high above those who do not understand music, or are
incapable of interpreting it beautifully. His own problems are focussed around money,
especially as his brother (Moses) has not given him the second part of his inheritance. He
has sought to find cheaper ways of producing the music examples for his latest writings: he
is more satisfied with the Eroica examples than the engraved illustrations from previous
volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a
volume of examples that is separate from the text. He repeats the news, from an earlier
letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his
entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche
Tonkünstler-Lexikon.
-
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OJ 71/20, [1] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated July 15, 1930
Kestenberg, on the recommendation of Wilhelm Furtwängler, would like Weisse to
give lectures in Berlin but first wants to know more about his background.
-
OJ 71/20, [2] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated August 4, 1930
Pleased that Weisse is intent on promoting Schenker’s theoretical work,
Kestenberg invites Weisse to give a lecture at the Central Institute for Music Education and
Teaching, and offers his support for Weisse speaking at the Academy for Church and School Music
and the Conservatory [Hochschule für Musik] in Charlottenburg.
-
OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2,
1930
Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's
help, is hoping for an appointment in Berlin.
-
OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930
Schenker advises that an analysis of the score of Beethoven's Missa solemnis
should be taken at a slow pace.
-
OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
-
OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
-
OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29,
1930
Hoboken questions Schenker's separation of "artist" from "person," and says
that he does not want to become an eternal student.
-
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
-
OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930
Offers New Year greetings; reports on his current mood, on the Conservatory, his private
teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on
compositional activity and reading.
-
OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930
Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's
non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers).
Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of
financial difficulties; he has offered his services to the Hochschule für Musik in
Berlin.
-
OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930
Cube thinks attending Weisse's lectures would enable him to make contact with
"people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker
for the time and place, referring to the difficulties of travel in these "catastrophic times."
Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of
his compositions coming up.
-
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
-
PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930
Schenker offers Haas a line of inquiry for tracing Beethoven source
materials.
-
Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
-
WSLB 420 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 17,
1930
Schenker reminds Winter to send him his [half-yearly]
statement.
-
WSLB 421 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 23,
1930
Schenker reminds Winter to send him his [half-yearly]
statement.
-
WSLB 422 Handwritten letter from Schenker to UE, dated October 13, 1930
Schenker inquires as to the likely costs of an unrevised second edition of
Harmonielehre.
-
WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930
Schenker confirms the consent he has given to the Kiel student
body.
-
WSLB 424 Handwritten letter from Schenker to UE, dated December 8, 1930
Schenker requests that a full set of Tonwille issues be sent to Hermann
Rinn.
-
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
-
WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930
Replying to Deutsch’s letter of July 30, Schenker warmly recommends his
long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then
comments at length on a newspaper article by Richard Benz (of which Deutsch had sent
a clipping), using a medical metaphor to describe the current pathological state of
music.
-
WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15,
[1930]
Schenker thanks Deutsch for his careful, helpful reading of the proofs
to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the
foreground graphs for the second movement of the "Eroica" Symphony to an apprentice;
these are full of mistakes and will have to be done again. But Tomay’s own work, on
the third and fourth movements, is excellent. -- In a postscript, he comments on his
entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk
yearbook in the Deutsche Tonkünstler-Zeitung.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930
Schenker requests a meeting with Deutsch and Robert Haas. -- The
page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will
also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by
Hoboken, and discuss any outstanding matters between them then.
-
WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12,
1930
Schenker will follow all of Deutsch’s recent suggestions regarding the
page formatting of the third Meisterwerk yearbook, for which he is most grateful. --
He then launches a further attack upon Anthony van Hoboken’s
character.
-
WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October
17, 1930
Enclosing two recent letters from Drei Masken Verlag, Schenker asks
Deutsch’s advice on what further action to take, if any. His doctor has pronounced
him fit.