-
FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.
-
FS 40/1, [17] Handwritten letter from Schenker to Salzer, dated September 24, 1933
Schenker sets [seminar] meeting date and reports on publications by Jonas,
Vrieslander, and von Cube.
-
FS 40/1, [18] Handwritten express postcard from Schenker to Salzer, dated October 10, 1933
Schenker offers Salzer a meeting time on Thursday.
-
FS 40/1, [19] Handwritten letter from Schenker to Salzer, undated [December 31, 1933]
Schenker sends New Year's greetings, recommends a Bartók recording, and looks
forward to listening to a Toscanini recording.
-
GdM Briefe HS, [3] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated April 21,
1933
Schenker notifies the Gesellschaft der Musikfreunde that they will be receiving
two complimentary copies of "Octaves and Fifths," and thanks it again for
permission.
-
OC 18/15 Typewritten letter from Josef Marx to Schenker, dated January 2, 1933
Marx welcomes Schenker's views, and will visit him upon his return from the
Graz region.
-
OC 18/18 Typewritten postcard from Marx to Schenker, dated January 14, 1933
Marx will visit Schenker on January 16 at 5.30 p.m.
-
OC 18/19 Typewritten postcard from Marx to Schenker, dated January 15, 1933
Marx changes his visit from January 16 to January 18.
-
OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933
Marx thanks Schenker for hospitality on January 18. He lacks the influence at
the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the
inclusion of Schenker's name on the list of publications to be taken into account in its
teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot
say how the Ministry of Education will judge that name.
-
OC 18/29 Typewritten letter from Frederick E. Auslander to Schenker, dated January 5,
1933
Auslander seeks permission from Schenker and his publishers to translate some of
his works.
-
OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8,
1933
Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. —
Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to
complete translations later.
-
OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933
Karpath reports that Joseph Marx is a candidate again for the Directorship of
the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a
professor at the Academy. — He says that he will write a letter to
Furtwängler.
-
OC 18/45 Handwritten postcard from Josefine Violin to Karpath, dated January 23, 1933
Josefine Violin informs Karpath of the death of Karl Violin. Karpath sends
Schenker the card, and complains in an annotation about the disrespectful mode of
address.
-
OC 18/46 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated January 30,
1933
Covering letter for a letter of recommendation (OC 18/47) by Furtwängler for
Schenker.
-
OC 18/47 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated February 6,
1933
Letter of recommendation by Furtwängler, which stresses expressly Schenker's
great significance as a music theorist.
-
OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933
Furtwängler encloses copies of two letters he has sent to Ludwig
Karpath.
-
OC 18/51 Typewritten letter from Karpath to Schenker, dated February 10, 1933
Karpath reports receipt of the letters from Furtwängler and that he is not
very happy with them. He will however submit the letter of recommendation to the President
of the Academy, Karl Kobald.
-
OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a
typewritten annotation from Karpath to Schenker, dated February 15, 1933
Karpath sends the copy of a letter to Furtwängler. He again shows himself
discontented with the latter's letter. In his letter to the conductor he asks for another
letter of recommendation.
-
OC 18/53 Handwritten letter from Karpath to Schenker, dated February 17, 1933
Karpath stresses that Furtwängler's testimonial is unusable for putting
Schenker forward to the authorities [i.e. in the Ministry of Education] as a candidate for a
professorship.
-
OC 18/54 Handwritten letter from Karpath to Schenker, dated February 24, 1933
Karpath reports a conversation with Academy President Karl Kobald about a
position for Schenker, and regrets being unsuccessful. Kobald and Marx would have
recommended Schenker for a newly established "Austro-American course." Karpath asks for a
meeting with Schenker.
-
OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933
Furtwängler asks if he can visit Schenker that evening.
-
OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
-
OC 30/41 Handwritten letter from Schenker to Trude Kaff, undated [c. January 5,
1933]
Unfinished, unsent letter of thanks from Schenker to Trude
Kaff.
-
OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15,
1933
Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures
her to be steadfast; says the doctor holds out possibility for recovery; asks for any news
on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with
little Karl. [This letter was passed to Heinrich Schenker.]
-
OJ 10/18, [4a] Handwritten calling card from Elias, undated [suggested date: c. May 7,
1933]
Miss Elias sends a present (unknown) for Brahms's birthday.
-
OJ 10/18, [5] Handwritten letter from Elias to Schenker, dated June 17, 1933
Miss Elias sends best wishes for Schenker's birthday, and reports a visit from
Robert Brünauer. — She encloses an "assessment" by Paul Stephan of a concert conducted by
Carl Bamberger.
-
OJ 10/18, [6] Handwritten letter from Elias to Schenker, dated September 22, 1933
Miss Elias thanks Schenker for allowing her to continue on her
three-lessons-a-week schedule. — She rejoices at his good progress on Der freie Satz, and
the news that Jonas's book will be published.
-
OJ 11/22, [6] Typewritten letter from the Gesellschaft der Musikfreunde (Barbara Haeberlein), dated
May 15, 1933
Enclosing an invitation for the opening ceremony of the Brahms Centenary
Festival, the writer asks which concerts Schenker would like to attend.
-
OJ 11/22, [7] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač), dated May 19,
1933
Encloses seat assignments for two chairs at the evening concert.
-
OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24,
1933
Haas is sending requested books of his, and invites borrowing over summer.
Kromer adds PS.
-
OJ 11/32, [15] Typed letter from Robert Haas to Schenker, dated June 2, 1933
Haas is unable to lend Griesinger's Haydn book over the entire vacation. Sends best wishes
for the summer.
-
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
-
OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933
Haas promises to have the Griesinger Haydn book delivered, and mentions
several other matters.
-
OJ 12/24, [6] Typewritten postcard from Kromer to Schenker, dated May 22, 1933
Kromer will call on Schenker on 24th.
-
OJ 12/24, [7] Typewritten letter from Kromer to Schenker, dated May 27, 1933
Kromer gives details of an apartment in Bad Ischl.
-
OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933
Jonas still has no response from Hoboken re: his Einführung; encloses four
essays; reports on forthcoming article, his teaching and advocacy of critical editions,
planned radio lectures and performance, and other work.
-
OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933
Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires,
in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had
previously prepared a reformulation of that work for teaching purposes; — he alludes to
introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul
project.
-
OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]
Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on
16th and will visit Schenker.
-
OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933
Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his
Einführung, he hopes for publication in the fall; — he has read the two articles by
Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on
16th.
-
OJ 12/6, [23] Handwritten postcard from Jonas to Schenker, dated September 12, [1933]
Jonas's article on Schenker is published. — He has received part of his book in
proof; asks about appropriateness of an appendix.
-
OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933
The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the
printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no
word from van Hoboken. Jonas inquires after Free Composition.
-
OJ 12/6, [26] Handwritten letter from Jonas to Schenker, dated December 10, 1933
Jonas asks how the music examples in Das Meisterwerk were printed, with
respect to his Das Wesen des musikalischen Kunstwerks. — In Riemann's Musiklexikon, ed. A.
Einstein, Einstein's reference to Schenker appears under "Bach."
-
OJ 12/6, [27] Typewritten letter from Jonas to Schenker, dated December 18, 1933
Jonas acknowledges OJ 5/18, 32; requests copy of Schenker's Syrische Tänze;
quotes from Schenker's entry in a Jewish lexicon. — He reports on local conditions; has
heard nothing from van Hoboken.
-
OJ 12/6, [46] Handwritten postcard from Jonas to Schenker, dated October 31 [1933]]
Jonas has been sick; — he has seen Furtwängler briefly; — Jonas believes that he
will not have space for the planned appendix on the Photogramm Archive in his book; — he
inquires about Hoboken.
-
OJ 13/2, [1] Typewritten letter from the Neue Schule für Musik und Bühnenkunst to Schenker, dated
August 3, 1933
Through an intermediary, Weissberger invites Schenker to teach a Beethoven
course at the Neue Schule für Musik und Bühnenkunst, Vienna
-
OJ 13/2, [2] Typewritten letter from Alfred Weissberger to Schenker, dated August 18,
1933
Alfred Weissberger concurs with Schenker as to the lower value now placed on
ability and knowledge, though he thinks the younger generation see the arts as a means of
obtaining a livelihood; he will sound out the viability of a Beethoven course for the
following year, and leaves open the possibility of approaching Schenker
again.
-
OJ 14/23, [26] Handwritten postcard from Seligmann to Schenker, dated March 20, 1933
Seligmann apologizes for being unable to accept an [evening] invitation from
the Schenkers on account of his health. He hopes that, when his health has recovered,
something could be arranged for an earlier hour (5 o’clock).
-
OJ 14/23, [27] Handwritten postcard from Seligmann to Schenker, postmarked March 27,
1933
Seligmann agrees to pay a visit to the Schenkers the following
Wednesday.
-
OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15,
1933
Hertha Weisse reports that, through Hans's teaching at Columbia University and
the Mannes School, Schenker's work has gained a footing in New York (where people seem more
receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into
the spirit that has given such joy to her husband's pupils. The children are growing up
speaking German, and she has begun to restudy the piano.
-
OJ 15/16, [89] Handwritten letter from Weisse to Schenker, dated February 15, 1933
Weisse has received a copy of Otto Vrieslander's recently published songs and
has written Vrieslander a long, critical letter. — He reports on initiatives to have some of
Schenker's writings translated into English, and on the success of his analysis of the Bach
C major Prelude. Their having purchased copies of the Five Analyses in Sketchform/Fünf
Urlinie-Tafeln, published by the David Mannes School, is further testimony of Schenker's
success on American soil.
-
OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933
Weisse reports the success of his lecture on the C minor prelude from the
Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. —
He inquires about the possibility of having Schenker's foreground graphs for the "Eroica"
Symphony printed separately and sold to his pupils, for a series of lectures planned for the
following year; the profits entirely to Schenker. — He sees little prospect visiting Europe
in the summer, as his financial situation has worsened: the Mannes School has been forced to
reduce his teaching for the next season. — He expresses his doubts about Vrieslander's
ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of
Harmonielehre itself in the light of his teacher's most advanced theoretical
ideas.
-
OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933
In this long letter, Weisse expresses his bitter regret about Otto
Vrieslander's reaction to his criticism of a recently published collection of his
(Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends
his critical stance on the grounds that objective discussions are the only worthwhile ones,
and that he took the trouble to write about the songs in a 14-page letter to Vrieslander
only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's
personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In
the final paragraph, he inquires again about gaining permission to make multiple copies of
Schenker's foreground graph of the "Eroica" Symphony.
-
OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
-
OJ 15/16, [93] Handwritten letter from Hans Weisse to Schenker, dated July 27, 1933
Weisse thanks Schenker for a copy of an (unidentified) essay; he is
preoccupied by news of his father's death, and reports that the year ahead will be a
difficult one for America, in spite of the more optimistic mood that has come about since
Roosevelt became President. He has completed a Variations and Fugue on a Popular American
Song, for two pianos, and is now at work on a new string quartet.
-
OJ 15/22, [4] Handwritten letter with envelope from Willfort to Schenker, dated April 14,
1933
On behalf of seminar colleagues, Willfort asks if there is a lesson
today.
-
OJ 15/22, [5] Handwritten letter from Willfort to Schenker, dated September 28, 1933
Willfort asks to be allowed to attend Schenker's seminar in the coming year with
less than last year's fee.
-
OJ 15/22, [6] Handwritten letter from Willfort to Schenker, dated December 9, 1933
Willfort encloses article by Citkowitz.
-
OJ 5/18, 22 Handwritten postcard from Schenker to Jonas, dated January 26, 1933
Josef Marx has expressed interest in class-use of the planned school edition
of Schenker's Harmonielehre; Schenker suggests Jonas's Einführung be placed before Marx; a
second proposal for an English translation of Harmonielehre has come in.
-
OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price
for Jonas's Einführung has been set too high; Schenker advises caution with
Hoboken.
-
OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933
Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre
for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's
adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success;
alludes to the Handel-Schenker Saul project.
-
OJ 5/18, 25 Handwritten postcard from Schenker to Jonas, dated May 4, 1933
Schenker expresses doubts about Hoboken's motives for discussion, and reports
two new publications.
-
OJ 5/18, 26 Handwritten postcard from Schenker to Jonas, dated May 10, 1933
Schenker acknowledges OJ 12/6, [22] and essay; — Hoboken coming 16th;
discusses timing of meeting.
-
OJ 5/18, 28 Handwritten postcard from Schenker to Jonas, dated October 5, 1933
Schenker is circulating Jonas's article to draw attention to his [forthcoming]
book. — He does not have van Hoboken's current address.
-
OJ 5/18, 29 Handwritten postcard from Schenker to Jonas, dated October 7, 1933
Schenker is forwarding issues [of the periodical containing Jonas's article]
to Hoboken.
-
OJ 5/18, 30 Handwritten postcard from Schenker to Jonas, dated November 6, 1933
Schenker reports van Hoboken's pending arrival in Vienna; — He refers to
Furtwängler and Richard Strauss.
-
OJ 5/18, 31 Handwritten letter from Schenker to Jonas, dated December 8, 1933
Schenker congratulates Jonas on handing over his volume to the printer; — he
gives van Hoboken's current address; — he has eye trouble; — comments on Furtwängler, and on
economic difficulties for music teachers in Vienna.
-
OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933
The music examples in Das Meisterwerk were engraved; Schenker draws attention
to and commends an article [by Israel Citkowitz].
-
OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933
Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a
Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in
being Jewish but in having assimilated thoroughly enough to establish favorable relations
with the Catholic church, antisemites, and the news media. — Implying a parallel between
himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the
world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's
history.
-
OJ 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933
Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the
economic conditions for musicians.
-
OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
-
OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933
Schenker reports on a newspaper article and abortive radio program about his theory, by
Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on
progress with Der freie Satz.
-
OJ 5/7a, [48] (formerly vC 48) Handwritten postcard from Schenker to Cube, dated September 16, 1933
Schenker acknowledges OJ 9/34, [38], and reports on publications by Oswald Jonas,
and the activities of Reinhard Oppel and Otto Vrieslander.
-
OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933
Schenker gives Violin an account of a three-hour meeting he had with Joseph
Marx, who expressed his highest regard for Schenker's theories; he expects that his writings
will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest
and goodwill.
-
OJ 6/8, [21] Handwritten letter from Schenker to the family of Moriz Violin, postmarked January
24, 1933
Schenker sends condolences, from Jeanette and himself, to the whole Violin
family on the death of Karl Violin, reassuring them that they did all they could in his
lifetime.
-
OJ 6/8, [22] Handwritten letter from Schenker to Violin, dated April 21, 1933
Schenker eagerly awaits Violin’s arrival in Vienna. He will soon send his
friend a copy of the Brahms study Oktaven und Quinten.
-
OJ 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933
Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson
fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He
will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory,
but continue to study the piano with Violin.
-
OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933
Schenker suggests a possible time for Wolf’s first lesson, and a schedule for
him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to
Palestine, and suggests that the Jews there should come to Vienna to study with himself as a
“first-class Jew.” Their summer plans are not yet fixed.
-
OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933
Schenker arranges a time for Violin and his sister to have supper with him:
not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a
week, on account of the substance of the theoretical material, but is willing to lower his
hourly rate for him.
-
OJ 6/8, [26] Handwritten letter from Schenker to Violin, dated September 24, 1933
The Schenkers’ maid is ill and has been taken to the hospital, so the dinner
invitation to the Violins must be postponed.
-
OJ 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933
Schenker reports that Hoboken has asked to come for coffee, and he has invited
him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl
Bamberger to Violin and his daughter.
-
OJ 6/8, [28] Handwritten letter from Schenker to Violin, dated December 1, 1933
Schenker is lending Violin a copy of something amusing [a composition by Josef
Knettel] sent to him by Reinhard Oppel. He notes that Hans Wolf wants to leave Vienna early
for the holidays, but Schenker will insist on being paid in full for the lessons scheduled
in December.
-
OJ 6/8, [29] Handwritten letter from Schenker to Violin, dated December 11, 1933
Schenker asks Violin to seek his sister Fanny’s help in finding someone who
can produce typed copies of an article about him published in America [Israel Citkowitz,
“The Role of Heinrich Schenker”].
-
OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933
Schenker reports reading a newspaper article in which Arnold Schoenberg was
not offered a post at the Vienna Academy, and draws from it a parallel with Violin and
himself.
-
OJ 8/5, [16] Handwritten postcard from Schenker to Violin, dated February 26, 1933
Schenker reports on Hans Weisse’s phenomenal success as a teacher in New York,
and complains about Joseph Marx’s duplicitous behavior.
-
OJ 8/5, [17] Handwritten postcard from Schenker to Violin, postmarked April 28, 1933
Schenker reports that his article „Was wird aus der Musik?“ has just been
published in the Deutsche Allgemeine Zeitung.
-
OJ 8/5, [18] Handwritten picture postcard from Schenker to Violin, dated September 1,
1933
Schenker sends a postcard from Mönichkirchen am Wechsel, where he and Jeanette
are stopping over en route from holidaying in Lower Austria, to say that he will get in
touch with Violin when he returns to Vienna.
-
OJ 8/5, [19] Handwritten postcard from Schenker to Violin, postmarked September 15,
1933
Schenker explains to Violin the terms under which he will accept Hans Wolf and
Miss Weber as pupils during the 1933–34 teaching year, setting out his core theory
curriculum and demanding two lessons per week.
-
OJ 8/5, [20] Handwritten postcard from Schenker to Violin, dated September 26, 1933
Schenker has just given Hans Wolf a lesson, and insists on a full program of
tuition for him at a decent rate of pay. He reports that Vrieslander is writing a book about
him, and says that he will give him a copy of Jonas’s recent article when he next sees him.
He has written a letter to Alfred Weissberger on his friend’s behalf.
-
OJ 8/5, [21] Handwritten postcard from Schenker to Violin, dated October 8, 1933
Schenker inquires after Violin, from whom he has not heard for some time. He
reports that Hoboken is in France but will return at the end of the month to resume
lessons.
-
OJ 8/5, [22] Handwritten postcard from Schenker to Violin, dated October 25, 1933
Schenker reports that Ludwig Karpath has been lying, and that six new
appointments have already been made at the Vienna Academy. His new pupil, Hans Wolf, is
thirsting after Urlinie analysis, which Schenker has to resist.
-
OJ 8/5, [23] Handwritten postcard from Schenker to Violin, dated October 27, 1933
Schenker has worked out a lesson plan that leaves him free on Wednesday
afternoon, a time he would like to reserve for visits from Violin and his family; but his
friend should feel free to turn up at other times.
-
OJ 8/5, [24] Handwritten postcard from Schenker to Violin, dated November 6, 1933
A new housemaid has meant some disruption to the routine in the Schenkers’
apartment, and a visit has to be rearranged; Hoboken is returning to
Vienna.
-
OJ 8/5, [25] Handwritten postcard from Schenker to Violin, postmarked November 27,
1933
In a message deprecating Hoboken’s character, Schenker believes that Hoboken
(the “wandering Dutchman") is trying to stretch out his tuition by paying social calls with
his wife outside lesson times; he likes Vienna because the cost of living is lower than in
Holland.
-
OJ 89/6, [1] Handwritten letter from Schenker to Hoboken, dated January 20, 1933
Schenker reports (1) discussion with Joseph Marx of a school version of his
Harmonielehre for the Akademie curriculum; (2) proposal from New York for an English
translation of Harmonielehre.
-
OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5,
1933
Hoboken is gratified by Schenker's praise of his song compositions; — He will
continue his Chopin projects someday, but is preoccupied with the worsening European
political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's
importance, and returns newspaper clippings that Schenker has sent him with
comments.
-
OJ 89/6, [11] Handwritten letter from Schenker to Hoboken, dated December 25, 1933
Schenker speaks of recent articles by O. E. Deutsch and I. Citkowitz, and
reports on former pupils Hupka and Breisach.
-
OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15,
1933
Miss Boy has had an angina attack — they are to be married; — The number of
subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial
support for it with that for Schenker's Freier Satz.
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OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker
reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in
press) and Der freie Satz (which he thinks will take two years to publish) that may yet see
the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version
of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der
Musik.
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OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
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OJ 89/6, [5] Handwritten letter from Schenker to Hoboken, dated April 24, 1933
Schenker is sending his Oktaven und Quinten, comments on it, and thanks
Hoboken for support; — comments on his "Erinnerungen an Brahms"; — hopes Hoboken will visit
in May.
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OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933
Schenker congratulates Hoboken and Eva Boy on their engagement, and comments
on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that
Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" —
He encloses an invoice from Universal Edition.
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OJ 89/6, [7] Handwritten picture postcard from Schenker to Hoboken, undated [June 22,
1933]
Schenker rhapsodizes about the Reigersberg Palace, and invites the Hobokens
for a visit.
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OJ 89/6, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20,
1933
The Hobokens will not come to Reigersberg; — He re-sends his two songs for
further comment; — He sends a booklet by Gottfried Benn; — They are isolated in
Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the
Photogram Archive and expressed an interest.
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OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933
In writing of Hoboken's prospects as a composer, Schenker is not interested in
creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram
Archive - but Cortot belongs to the already convinced. — He makes observations on some
inclosed feuilletons, and gives information about Goos.
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OJ 89/9, [1] Handwritten letter from Schenker to Hoboken, undated [August 15, 1933]
In returning it, Schenker comments on book by Gottfried Benn, and reports that
Der freie Satz is nearing completion.
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OJ 89/9, [2] Handwritten letter from Schenker to Hoboken, undated [October 7, 1933]
Schenker acknowledges receipt of money transfer; — alludes to Jonas's forthcoming
book and two other books now in progress about his work; — refers to a review of his Oktaven u.
Quinten that misunderstands the nature of Brahms's collection.
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OJ 9/12, [9] Handwritten picture postcard from Carl Bamberger to Schenker, dated March 29,
1933
Bamberger asks Schenker to prepare the score and parts of a Handel concerto
grosso in the next five days.
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OJ 9/15, [1] Handwritten notecard from Elsa Bienenfeld to Schenker, dated May 22, 1933
Bienenfeld was reminded keenly of Schenker's teaching during a performance of
Brahms's First Symphony by Furtwängler, and seeks a private meeting.
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OJ 9/15, [2] Handwritten postcard from Elsa Bienenfeld to Schenker, dated May 29, 1933
Bienenfeld thanks Schenker for inviting her to visit him and promises to come
on June 2, 1933.
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OJ 9/15, [3] Handwritten notecard from Elsa Bienenfeld to Schenker, dated June 6, 1933
Bienenfeld thanks Schenker for her visit to him on June 2, 1933, and invites
him to meet Felix Weingartner on June 14, 1933.
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OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933
Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der
freie Satz, sends an example of his work, and expresses concern over his future.
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OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933
Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in
his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political
developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.
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OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933
Cube reports on his poor health and straitened cirumstances, teaching at two
conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his
investigation of diatonic systems.
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OJ 9/8, [6] Typewritten postcard from Wilhelm Altmann to Schenker, dated March 22, 1933
Altmann did not know of the letter from Brahms to Kalbeck about which Schenker
had written him. — He hopes for an economic upturn [now Hitler is in power].
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OJ 9/8, [7] Handwritten postcard from Wilhelm Altmann to Schenker, dated April 29, 1933
Altmann thanks Schenker for sending a copy of his Brahms Octaven und Quinten
article.
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OeNB H Autogr.856/20-2 Handwritten letter from Schenker to Josef Marx, dated January 12, 1933
Schenker invites Marx to tea at the Schenkers' apartment.
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OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933
Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a
post at the Akademie für Musik, extolling his qualities as musician and
colleague.
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OeNB H Autogr.856/20-4 Handwritten letter from Schenker to Josef Marx, dated March 4, 1933
Schenker speaks of his work having been proscribed in Vienna for 25 years, and
also allusively about a certain father and son. He compares the situation in Vienna
adversely with the size of Hans Weisse's lecture audience and his remuneration in New York.
Schenker asks for another meeting.
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OeNB H Autogr.856/20-5 Handwritten letter from Schenker to Josef Marx, dated July 8, 1933
Schenker asks Marx to intercede with Oswald Kabasta on behalf of Carl
Bamberger for the latter to be relayed on Radio Wien.
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OeNB Mus.Hs. 36390/1, [4] Letter from Moriz Violin to Schenker, dated June 28, 1933
The Violin family have escaped Nazi Germany, and are preparing for life in
Vienna; Violin looks forward to seeing his friend, and wishes him good
health.
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PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933
Schenker returns a loaned book.
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Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933
Schenker has received a letter from Karpath, and alerts Furtwängler that he will
be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit
by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate
with the Akademie, but appointments there come about only by intrigue.
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UG 32/5, [2] Handwritten letter from Schenker to Guido Adler, dated May 31, 1933
Schenker thanks Adler for the offprint of his Brahms article.