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OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4,
1930
Roth supplies the costing requested.
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OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10,
1930
Kalmus reports an inquiry from the Kiel student body.
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OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13,
1930
UE have granted permission to the Kiel student body.
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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.
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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].
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930
Schenker confirms the consent he has given to the Kiel student
body.