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FS 40/1, [3] Handwritten letter from Schenker to Salzer, dated September 14, 1931
Schenker asks for a meetings to discuss lesson schedule.
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OJ 10/3, [153] Typewritten picture postcard from Deutsch to Schenker, dated September 25,
1931
Deutsch is back in Vienna, and hopes to see Schenker the following
week.
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OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931
Hoboken encloses a check for 39 past lessons and reports on his work during
the summer. -- He comments on books by Hans Meyer and Cassirer.
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OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931
Weisse outlines his travel plans before leaving for America. He has accepted
an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before
he sets sail.
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OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
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OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
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OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931
Schenker tells Hoboken not to concern himself too much with the Urlinie: it is
the linear progressions that really matter.
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OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.